Principles of Colour

In general perceived colour depends upon 3

things:

 Light source illuminating the surface that is

perceived
 The spectral transmission or reflectance of
light by that surface
 The ability to detect this light & to convert it
into what is experienced as colour
 Colour Popularity

 Blue – Masculine

 Red – Feminine

 Silver – (Luxury & Wealth)

 Colour Beliefs
 A red car will drive faster than a white
car.
 Coffee served in red mug is considered
stronger than that in yellow mug.
*Brown mug – Too strong
 Blue & white packaging of food means
purity & unadulterated.
 Colour Beliefs

Products communicating strength

adopt vibrant & contrasting colours.

Yellow & black are used for

warning/caution symbol.
 Colour Mixing
 Additive
Red + Green + Blue = White

 Subtractive
Cyan + Yellow + Magenta = Black
 Colour Systems

 Newton’s Colour Spectrum

 Munsell System

 CIE System
 Newton’s Colour Spectrum

 Hue – Colour of a colour, its redness,

blueness or greenness

 Value – Amount of lightness/darkness

 Chroma – Saturation or Colour Strength
Munsell System of Colour
Classification

 1905 - 20 Hues initially

 1950 - 40 Hues
 Recognized by
* ASTM (American Society for Testing & Materials)
* JISC (Japanese Industrial Standard for Colour)
* GSCS (German Standard Colour System)
 CIE System of Colour
Classification

 Commission Internationale de I’ Eclairage

 XYZ Colour Space (3

Co-ordinates of Colour)

 Presented in 3-D space

Colour Psychology

 Red: Exciting,

Which red?

 Green: Calming,

Which green?
 Colour Research Findings
Strong greens, yellows & blues are all seen
to be as exciting as strong red.

Pale & dark versions of the same hues

have quite the reverse effect.

Pink has a calming effect on violent people.

 Colour Research Findings
 Common belief:
Blue increases the size of a room.
Red decreases the size of a room.

** It is not the colour, but the extent of

whiteness or blackness decides
perception of space.
 Colour-Temperature Effects

 Red & Yellow rooms: Warmer

 Blue & Green rooms: Cooler

 Colour Value (Tone)
 Shapes that are close in value or
tone appear to merge together.
 Visually dark values appear to
come forward and light values
tend to recede, but reverse may
also occur.
 Colour Value (Tone)

Sharply contrasting values

attract attention.
 Use of light against dark or
dark against light can create
the illusion of size difference.
 Mechanism of Colour
Identification

 There are two basic types of receptors

located in the retina at the back of
the eye: Cones & Rods
 Cones are for colours
 The cones operate at higher light levels
 They take care of a whole range of
colours including black, white & grays
 Cones for Colour
Identification
Three different types of cone have
been identified with sensitivity towards
Red, Green & Blue spectrums
respectively
The impulse generated by these cones
are transmitted via a network of nerves
to a layer of retinal ganglion cells
 Cones for Colour
Identification
These signals are then relayed to the
brain by optic nerves
The final processing takes place in
the lateral geniculate bodies located in
the mid brain region
Information is passed to the visual
cortex at the rear part of the brain
 How Colours are Described?
In everyday life colours are traded through
language description.

Blue can be described as Blue, Light Blue,

Dark blue, Sky Blue, Greenish Blue, Navy
Blue, Blue Violet, Cornflower Blue, Powder
Blue, Steel Blue, Royal Blue, Dark Slate blue
etc.
 Munsell System of
Colour Classification
Three major dimensions of colour are HUE,
VALUE & CHROMA
Munsell HUE is a chromatic dimension and
distinguishes between RED, GREEN &
BLUE
Munsell VALUE refers to the lightness or
darkness of a colour. There are 11
categories of values ranging from ideal
black (0) to ideal white (10)
 Munsell System of
Colour Classification
A rough estimate of the light reflectance of
a colour is given by,
V (V – 1)
Where, V is Value
Thus colours of similar value have similar
reflectance
 Munsell System of
Colour Classification
Munsell CHROMA is a further chromatic
dimension which describes the strength or
saturation of a colour
It can be usefully conceived of as the
amount of hue present
The Chroma scale goes from neutral gray
(0) towards full strength at any given value
 Munsell System of
Colour Classification
Numerical steps are usually in steps of
twos, thus 2,4,6,8,10 etc.

A complete reference for a colour in

Munsell notation follows the order, HUE-
VALUE-CHROMA
 Munsell System of
Colour Classification
 Thus a colour 7.5YR8/12 represents:

 A Hue in the Yellow-Red region inclining

towards Yellow

 A high Value of 8 denotes a light colour i.e.

high reflectance

 A high Chroma 12 and therefore a strong

saturated colour
 Munsell System of
Colour Classification

Neutral colours like White & Black

possess no hue, they are achromatic
and therefore no chroma value

These neutral colours are denoted by

VALUE number prefixed by N, e.g. N3
or N9
 Munsell System of
Colour Classification
The great advantage of Munsell system is
that the imprecision of everyday colour
communication can be avoided

While the Munsell system is probably

adequate to meet the needs of the
designer, it is important to know that,
there are systems which are not
associated with physical samples
 CIE System of Colour
Classification
CIE system developed by:
(Commission Internationale de I’ Eclairage)
Underlying principle is Additive Colour
Mixing
CIE-XYZ colour space chromaticity
diagram is based on the laws of Grassman
X, Y & Z co-ordinates express the colour
space dimensions mathematically
 CIE System of Colour
Classification
The visual difference between two colours
can be expressed in a physical distance in
the colour space
This is especially interesting for the colour
industry, where people have to trade in
printed products (e.g. Textiles)
An exact colour can be specified with the
tolerance limits
 CIE System of Colour
Classification
The sum of X+Y+Z = 1, if two values are
known, third one can be calculated
This is the only true Universal Colour
Space
It represents all of the colours which occur
in nature and are visible to the “Standard
Human Observer”
All other colour spaces (e.g. RGB, CYM
etc.) are subsets of CIE
CIE System of Colour
Classification
 Additive Vs Subtractive
Colour Mixing
Additive Mixing Subtractive Mixing
 Used in CIE System Used in Munsell System
 Primary colours are Primary colours are
Red, Green & Blue Cyan, Magenta & Yellow
 Red + Green = Yellow Magenta + Cyan = Blue
 Green + Blue = Cyan Cyan + Yellow = Green
 Blue + Red = Magenta Yellow + Magenta = Red
 Used for mixing Light Used for mixing pigments
 Function of Colour in
Product & Interior Design

 Structural

 Ergonomic

 Aesthetic
 Structural Functions of
Colour
Its capacity to affect the way in which an
object is perceived by:

 Generating Centre of Attraction

 Separation/Association of objects
 Deciding Proportion & Orientation
 Ergonomic Functions of
Colour
Its role towards achieving:

 Safety
 Good Visibility
 Durability of Appearance
 Identification
 Compatibility
 Maintenance
 Aesthetic Functions of
Colour
The aesthetic purpose is to prove:

 An Agreeable Stimulus
 Appropriate to the Product
 Suitable for the Style & Image
 Fashionable
 A Formal System of Balance
 Order, Rhythm & Consistency
 Design Strategies for Colour
An useful framework for conceiving colour is
to distinguish between its connotations &
its desirability, and to regard its desirability
as a function of its connotations.

A product that appears masculine and heavy

may be considered more desirable than
one that appears feminine and light.
 Design Strategies for Colour
Perceptual Evaluative

 Warm/Cool Expensive/Cheap

 Hard/Soft Subtle/Vulgar

 Heavy/Light Masculine/Feminine

 Strong/Weak Fashionable/Unfashionable
 Connotation of Colours
Red is associated with:
 Battle
 Blood
 Fire
 Passion
 Love
 Excitement
 Royalty
 Majesty
 Triumph
 Connotation of Colours
Orange is associated with:
 Friendliness
 Pride
 Ambition
 Warmth
 Relaxation
 Appetite
 Connotation of Colours
Yellow is associated with:
 Sunlight
 Spring time
 Cheerfulness
 Optimism
 Safety
 Connotation of Colours
Green is associated with:
 Nature
 Calmness
 Friendliness
 Freshness
 Connotation of Colours
Blue is associated with:
 Truth
 Honesty
 Loyalty
 Integrity
 Coolness
 Repose
 Formality
 Connotation of Colours
Purple is associated with:

 Royalty
 Religious
 Connotation of Colours

Silver is associated with:

 Peace
 Persistence
 Connotation of Colours

Gold strengthens all fields of the

body & spirit
 Connotation of Colours
®It is important for the designer to think of
such connotations in consultation with the
users
®People are drawn to colours they need &
move away from those they don’t need
®While hues are important, it is even more
important to consider value & chroma, as
they can have a profound effect on
emotions and feelings
 Choosing Colours in 3-D
(HVC)
The dimensions (HVC) should be
matched one by one
Colour schemes can be developed by
varying any one dimension, keeping
the other two constant
Harmonious schemes can be
produced based on Munsell system
 Monochromatic Schemes

 Same Hue

 Variable Value & Chroma

 Apposite/Analogous
Schemes

 Adjoining Hues

 With variation in
Value & Chroma
 Complementary Schemes

Complementary colours
are located directly
across from each other
on the colour wheel
Complementary pairs
contrast because they
share no common
colours
 Triadic Schemes
This scheme uses three hues
at roughly equal interval
around the colour circle
 Split Complementary
Schemes
This uses a three way division of the colour circle, but with
two of the hues close together

It resembles a narrow armed ‘Y’ on the colour wheel rather

than exact opposites or complementary colours
 Split Complementary
Schemes

Such a scheme thus provides three

colours instead of the two of
complementary combinations and
provides a wider range of colour
selection
 Double Split Complementary
Schemes

In this case two adjacent hues

with their complementary are used
 Tetrad Colour Schemes

 Four colours equidistant on the

standard 12 part Colour wheel form
a tetrad scheme
Neutral Colour Schemes
 Neutral Colour Schemes

Neutral colours or earth tones are not seen

on most colour wheels.

Black, Gray, Whites are neutral

Browns, Beiges & Tans are sometimes

neutral
 Neutral Colour Schemes

Neutral colours can be made by mixing

 Black & White

 Complementary colours
 All three primaries together
 Neutral Colour Schemes
Interiors with neutral or achromatic
(meaning without colour) schemes
tend to visually expand a space

They make good background for

colourful furniture, artwork and
accessories
 Cool Colours
Cool colours are made mostly of Green,
Blue and Violet (Purple)
This family of colours is called cool
because they remind of cool things like a
cool forest, a cold lake or a quiet pond
Cool colours can even make one feel cooler
because they can slightly decrease blood
circulation &body temperature falls slightly
down
Cool Colours
 Warm Colours
Warm colours are mostly Red, Orange &
Yellow
This family of colours is called warm
because they remind of warm things like
the sun or fire
Warm colours can even make one feel
warmer because they can slightly increase
blood circulation & body temperature also
goes up
Warm Colours
 Mood of a Colour
 It is the feeling created by a
colour

 Colour can create illusion of depth

& space etc.
 Colour Contrast
Contrast creates excitement & interest in a
design
Two things that are very different from
each other, have a lot of contrast
White & Black have the greatest contrast
Complementary colours also have high
contrast
 Successive Contrast or
After-Image
When complementary hues are placed next to
each other, they produce a strong contrast and
vibrancy referred to as successive contrast
If a person looks at a particular hue, such as a
red surface, for a period of time and then
suddenly shifts to a white or gray surface, his
eyes usually will visualize the colour green
instead of white or gray
This phenomenon of “seeing” the
complementary colour is called ‘After-Image’
 Colour & Texture
The textural quality of an object or surface
also affects the visual appearance of a
colour
Rough textured materials will generally
appear darker because they absorb light &
colour rather than reflect it
Shiny surfaces and materials appear lighter
 Colour & Texture

Textured materials such as nubby fabrics,

pile towels and carpets & velvets will cast
small shadows within themselves and
appear darker than a smooth material of the
same hue, value & chroma.
 Colour Distribution
Every colour plan should ideally include some
light, some dark & some median values to create
the desired effect
There are two popular methods utilized for colour
distribution:
 Neutral background
 Dark background
Accordingly the colour of the figure is decided
with a contrast
 Elements of Colour: Light
& Colour Phenomena
Luster & Colour are two important
phenomena deciding appearance of
textiles
When light falls on a fabric, some
amount is reflected from the surface of
the fibres and some may be reflected
by irregularities within the fibres
 Light & Colour Phenomena

Surface reflection gives rise to luster

Luster appearance of a fabric depends
upon:
 Characteristics of the fibres
 Fibre arrangement in the yarn
 Weave
 Fabric finishing
 Light & Colour Phenomena
Smooth and uniform fibres generate more
luster

Filament yarns & high twisted yarns appear

more lustrous

A weave which presents large continuous

areas of yarn to view e.g. sateen, gives a
higher luster than one where there are many
thread interlacings e.g. a plain weave or a
crepe weave
 Light & Colour Phenomena
Fabrics with a raised surface may have the weave
pattern completely concealed and in many
tapestries & carpets the form produced by the
weave is solely for the purpose of displaying
colour

Frequently colour is of more consequence than

form, since it is possible for a good scheme of
colouring to redeem an otherwise uninteresting
design

On the contrary, a displeasing colour combination

will render worthless a good form
 Physical Basis of Colour
For convenience the 7 colours of a
spectrum are classified into only
six,
 Red
 Orange
 Yellow
 Green
 Blue
 Violet
 Physical Basis of Colour

The change from one colour to

another is imperceptible
The brightest part of the solar
spectrum is in the yellow & green
regions
At the two extremes red & violet
contribute very little by way of
illumination
 Physical Basis of Colour

Visible light waves differ in

frequency
Frequency increases through the
spectrum, going from red to violet
Red rays are refracted less than
the violet ones
 Absorption of Light
All bodies emit some visible light, but only
bodies above 6000 C emit much visible light
and the hotter the body the bluer the light it
emits
Many familiar sources of light e.g. the sun &
electric light bulbs are hot body radiators
and show continuous spectra
The electric light is richer in red light
because its temperature is 30000 C while that
of sun is 60,0000 C
 Absorption of Light
The behaviour of a body is characterized by
its absorption spectrum, which shows what
proportion of the light of a particular
wavelength is absorbed by the body
Thus a body which is not self-luminous can
appear coloured because it absorbs light of
some wavelengths and reflects the rest of
the light falling on it from an external source
 Absorption of Light
Two theories of colour mixing depend
upon these twin ideas of reflection and
absorption
 Light theory
 Pigment theory

Light mixing follows additive principle

Light & Pigment
Theory of Colour
Light Theory Pigment Theory
 Absorption of Light
Pigment mixing, as in dyeing, follows
subtractive principle and the
absorptions are added

A non-luminous body cannot reflect

light of any wavelength
 Complementary Colours
Complementary colours are in the
greatest possible contrast with each
other
 Blue Vs Yellow
 Green Vs Purple
 Red Vs Bluish green
 Complementary Colours
The complement of a colour can
be determined by placing a disc of
the colour upon a sheet of white
paper, looking at it intently for a
time, and then transferring the gaze
to another white surface
 Complementary Colours
The exhaustion of the colour nerves causes
a colour, when looked at for some time, to
appear duller
In examining dyed cloths, in order to avoid
this defect, it is necessary to pass from one
colour to another, as for instance from red to
green or olive, or to transfer the gaze at
intervals to a colour which is complementary
to the colour being inspected
 Colour Measurement
When human eyes see a colour, they tell not
only what hue it is, but also what proportion of
white light is present, i.e. what the purity or
saturation of the colour is and its luminosity or
brightness
To describe the purity, it is necessary to find
the proportions of the spectral colour and of
white light which would be needed to match
the colour
To measure brightness, the light output has to
be compared with that from a standard source
 Pigment Theory of Colour
Light Theory Pigment Theory
Red + Green = Yellow Red + Green = Dull Brown
Yellow + Blue = White Yellow + Blue = Green

A third colour is generated because

colouring matter reflects colour rays other
than those of its predominating colour
 Pigment Theory of Colour
Red, Yellow & Blue are taken as simple or
primary colours as they cannot be obtained by
mixing other pigment colours
By the admixture of the primary colours in
different proportions, and with addition of black
& white pigments, practically all other colours
can be produced
When two of the simple colours are mixed, the
resultant colour is called as a compound colour
 Pigment Theory of Colour
By mixing the primary colours in pairs,
secondary colours are obtained and by mixing
the secondary colours in pairs, tertiary colours
can be developed

PRIMARY SECONDARY TERTIARY

RED (R) Y + B = GREEN (G) P + O =Russet
YELLOW (Y) R + B = PURPLE (P) G + O =Ciltron
BLUE (B) R + Y = ORANGE (O) G + P =Olive
 Complementary Colours in
Pigment Theory
The term ‘complementary’ is used in a
different sense in light & pigment theories
of colouring

In pigment theory each primary colour and

the secondary colour that results from the
mixing of the other two primaries are
considered to be complementary to each
other
Complementary Colours in
Pigment Theory
 Attributes of the Primary &
Secondary Colours
PRIMARY COLOURS
RED: Cheerfulness & gives warmth

YELLOW: Purity & is distinctly advance to the eye

BLUE: Coolness & appears to recede from the eye

 Attributes of the Primary &
Secondary Colours
SECONDARY COLOURS
ORANGE: Possesses warmth & brightness
but, not as intense as yellow

GREEN: Retiring & appears cheerful and fresh

PURPLE: Bloom & softness

 Uses of the Primary &
Secondary Colours
Primary colours are mainly used for large
spaces
Secondary colours are used in
comparatively smaller spaces for the
purpose of imparting brightness and
freshness to fabrics, their strength being
usually much reduced by mixing with black
& white when they are used in large
quantities as ground shades
 Modification of Colours
 By mixing with another colour:
There is a change in hue by mixing a colour with another
colour

 By mixing with black or white:

By mixing with white or black, a change of tone results. A
tint is a tone that is lighter & shade is darker

 Coloured grays:
Certain neutral or broken colours termed as coloured grays
result from mixing a normal colour with both black & white
in varying proportions
 Influence of Fabric Characteristics on
the Appearance of Colour

Textile materials may be dyed in various

stages of manufacture; polymer, fibre,
sliver or top, roving, yarn, fabric or
garment
Different colours may be combined at one
or other stage of manufacture
In a mixed colour effect, the component
hues may be either suffused or distinct
 Influence of Fabric Characteristics on
the Appearance of Colour

Low toned colours, which in rough fabrics

may appear insipid, often look nice on
fabrics manufactured from filament yarns
In smooth fibres, yarns & fabrics it is
possible to achieve brightness & clarity
The frequency of interlacing as well as the
actual arrangement of their intersection
points does have a profound effect on the
appearance of colour
 Influence of Fabric Characteristics on
the Appearance of Colour

Plain woven fabrics in which the warp is

red & the weft is blue, the constituent
colours tend to lose their separate identities
and the overall resultant hue would be
purple
 Application of Colour
 Mixed colour effects:
Differently coloured fibres
Dyed slivers
Different coloured rovings
Printing of yarns
Twisting two differently dyed yarns
Weave effects
 Fibre Mixture Yarns

2 different tones

Fibres paced side by side before mixing

Proportionate mixing
Twist Yarn Structures
Grandrelle

Spiral

Gimp

Diamond yarns etc.

 Combination of Threads
during Weaving

Two different colours in warp & weft

Variation in warp only (stripes)

Variation in warp & weft both (checks)

Different weft colours

 Harmony in Stripes & Checks

Colours which harmonize; the tones

which establish harmony should be used
Suitable extent of surface area should
be provided for each colour
Suitable weave/float should be selected
 Harmony in Stripes & Checks

Continuous face weaves for stripe

e.g. 2/1, 3/1 twills

Even sided weaves for check e.g.

1/1, 2/2 etc.
Harmony in Stripes & Checks
Colour Patterns
Simple regular

Simple irregular

Counter change patterns

Graduated patterns