COLOR THEORY CAROLINA MOUZINHO
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ME + Culture + COLOR Theory + COLOR
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Designers + COLOR
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Film + COLOR
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Balance + COLOR
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Healthcare + COLOR
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TABLE OF CONTENTS
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Rhythm + COLOR
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Scale + COLOR
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Hospitality + COLOR
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Rendering + COLOR
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Workplace + COLOR
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Conclusion
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ME + Culture + COLOR I was born and raised in Recife, Brazil. I moved to Florida when I was fifteen years old. The only two places I have ever lived. I speak Portuguese and English and a little bit of Spanish. I was a fine art major before I discovered my passion for architecture and switched majors two years ago. I still consider myself to be an artist. It is a tool and a thought process I can apply to many things in life, including my designs.
Love
Yourself Med itate Slackli ne
A hobby is a regular ac�vity that is done for enjoyment, typically during one's leisure �me. Hobbies can include collec�ng themed items and objects, engaging in crea�ve and ar�s�c pursuits, playing sports, or pursuing other amusements. By con�nually par�cipa�ng in a par�cular hobby, one can acquire substan�al skill and knowledge in that area. Engagement in hobbies has increased since the late nineteenth century as workers have more leisure �me and advancing produc�on and technology have provided more support for leisure ac�vi�es.
In the 16th century, the term "hobyn" had the meaning of "small horse or pony". By 1816 the deriva�ve, "hobby", was introduced into the vocabulary of a number of English people. Over the course of subsequent centuries, the term came to be associated with recrea�on and leisure.
In the 17th century, the term was used in a pejora�ve sense by sugges�ng that a hobby was a childish pursuit, however in the 18th century with a more industrial society and more leisure �me, hobbies took on greater respectability. A hobby is also called a pas�me, derived from the use of hobbies to pass the �me. A hobby became an ac�vity that is prac�ced regularly and usually with some worthwhile purpose. Hobbies are usually, but not always, prac�ced primarily for interest and enjoyment, rather than financial reward. Hobbyists engage in five broad types of ac�vity: collecting, making and tinkering (like embroidery and car restora�on), activity participation (like fishing and singing), sports and games, and liberal-arts hobbies (like languages, cuisine, literature). People who engage in hobbies are those who have an interests and �me to pursue them. Do you have �me?
HOBBIES
TRAVEL
COLOR palette Green represents hope, freedom, health and vitality. Flag: it symbolizes our forests, trees, and vegetation.
Yellow represents light, warmth, relaxation, optimism, and joy. Flag: it symbolizes our gold.
Blue represents tranquility, serenity and harmony. Flag: it symbolizes the sky.
White represents peace, purity and cleanliness. Flag: it symbolizes peace.
Though it is almost universal, the ‘rainbow flag’ symbolizes the fight for equality.
BRASIL What is the most powerful memory of color or tradition? What is important to your family? How do they still embrace the traditions??? … The most powerful memory of color I have growing up in Brasil is also part of our tradition of that region, Pernambuco (the north-east), which are the colorful tiny umbrellas used to dance Frevo. The colors of the umbrella are green, blue, yellow and red. To me these are the colors of my city. From traditional dances and clothes, to architecture and design, everything is very bright, colorful, and happy.
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Theory + COLOR Color is an intangible, powerful sensation that has the ability to enhance our physical environment, influence our personal experiences of space, and provide a greater sense of health and well-being. Color theory is the study and practice of a set of principles used to understand the relationship among colors.
With this chapter, I am able to describe the three properties of light: Reflection, diffraction, and refraction. Characterize the three dimensions of color, Discuss the characteristics of color that produce tint, tone, and shade, explain the difference between additive and subtractive color, and identify and produce the different color harmonies.
Additive color light mixing
Subtractive color press mixing
Tint - Tone - Shade
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Designers + COLOR Born in Switzerland in January 25th, 1944, Bernard Tschumi is writer, educator, and architect mostly associated with deconstructivism. Tschumi studied architecture in Paris and graduated in Zurich, at ETH and now lives and works in New York City and Paris. "Architecture is not simply about space and form, but also about event, action, and what happens in space."
He adapted Sergei Eisenstein's theories of diagramatic methodology produced by his own films to exploit the elements of which a system is made of: space, event, and movement/activity. The use of film images in these works originated Tschumi's interest in sequences and programmatic concerns.
The primary basis of His designs strive to Tschumi's design is integrate into the environment. the grid, usually derived However, as seen in from characteristics of 'Parc de la Villette', the building site or the the intention is not to blend city, where he combines in with the surrounding but urbanistic and naturalistic to work functionally and qualities. visually.
The 125-acre park 'Parc de la Villette' contains 26 steel follies, each unique and yet, through materials, form, and redness, recognizably similar.
"Why the color red?" Tschumi kept on being asked the same question that emtirely missed the point of the design concept. It was a conscious decision, he explained, but apart from the concept of movement.
A structural solution of three independent systems: 1. Points 2. Lines 3. Surfaces "In the park, the city is not supposed to exist." Social and cultural activities: -workshops -gymnasium -bath facilities -playgrounds -exhibitions -concerts -science experiments -games -competitions
The red follies appear only through the trees as one approaches or at a distance, depending on the season, and themselves become part of the experience. So it is the best hue for the purpose. The red is not simply a color but one part of a larger meaning.
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Film + COLOR FILM SUMMARY Amélie is a story of an innocent and imagina�ve girl whose childhood was suppressed by her Father's mistaken concerns of a heart defect. As a child, Amélie gets hardly any real life contact with other people, leading her to resort to her own fantas�cal world and dreams of love and beauty. She later on moves to the central part of Paris as a waitress where her magical journey begins.
There, Amélie devotes her life to crea�ng a world of her own with the people around her. A�er discovering a small box of lost treasure in her apartment, she decides to make it her mission to find its owner. When she returns the lost belonging she finds a roman�c interest on her journey, realizing that the way to happiness requires her to ini�ate the love she has always dreamed of.
The color pale�e in the film are vibrant and deeply saturated hues of red, green and yellow. These colors are used to emphasize certain elements of the frame, such as the �me of the day, temperature, season, and character’s personality. The audience is introduced to these three colors in various ways: from clothing, objects and buildings, to the skin tone, �me of day, and small details in the background.
SCENE ANALYSIS The bright warm color yellow is used to represent liveliness, happiness, joy, and excitement. Amelie's ways of entertainment involves playing a discrete game with the people around her, which shows her exci�ng, entertaining, and yet, unpredictable lifestyle.
Green is understood to be a color of peace, nature, relaxa�on and calmness and can be easily iden�fied in Amelie's character as she always remains calm throughout her journey despite all the excitement.
SCENE ANALYSIS In this par�cular scene, the dominant color is red. The use of red relates to Amelie's constant search for love, with red also being the dominant color of her apartment; a person's personal space, the place in which she resides and therefore, tells the most about personality, which is a curious and vibrant character. Green and yellow can also be easily iden�fied.
SCENE ANALYSIS There are very few scenes where the color blue is vibrant and grabs the a�en�on from the character, such as the projector in Raymond's apartment (Amelie's neighbor) and the lamp in Amelie’s living room. The color has such effect not only because of its satura�on but in this par�cular scenario is because blue is on the opposite side of the color wheel from the color pallet used throughout the film, therefore, blue is the color the pops the most.
COLOR ANALYSIS
The use of blue is applied in a very dis�nct manner and it's almost unno�ced if not paying close a�en�on to the different scenes. Blue is o�en associated with depth and stability. It symbolizes trust, wisdom, confidence, and intelligence.
However, blue is actually applied in many scenes throughout the movie, usually in an object far away in the background. It is also the color of the car of the man she goes a�er and the scooter of the man she falls in love with.
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Balance + COLOR Balance enforces the demand for oppositional groups, and it achieves its objectives as soon as oppositional forces are clearly identified. In order to achieve this, we must have contrast of hues, values, and chroma.
There are three types of balance: symmetric, asymmetric, and radial. They refer to the relationship of different hues to one another when each is perceived to be equal in perceived visual weight.
The Munsell value scale illustrates a nine-step scale, from pure black (1) to pure gray, which is an equal mixture of black and white (5), to pure white (9). From heavy to light.
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Healthcare + COLOR This chapter investigates some of the different aspects of color and the ways it is perceived by people It describe some theories and studies regarding effects of color on the psychological, emotional and physical health of people. And recognizes the ways color can help with safety, orientation and navigation in a healthcare facility.
There are three principal goals to every healing environment: Strive to heal the patient, support the staff , and engage the family As shown in many studies, our feelings about color depend on many facets of our physiological and psychological profiles. Color may be an important emotional trigger, however, there is no clear evidence to suggest that any one color is effective in achieving a particular healthcare outcome.
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Rhythm + COLOR This chapter explains how rhythm and color can be used to create five types of visual effect: repetition, alternation, progression, continuation, and radiation. The stronger the contrast of color, the stronger the color rhythm. The weaker the contrast of color, the weaker the color rhythm.
A series of similarly shaped objects with color contrasts between the repeating elements will create a regular color rhythm. Repeat a series of progressively larger elements with more dramatic contrasts between each design element for a progressive, dynamic color rhythm. Repeat a color hue with a repeating shape to create a calming, even pattern of movement.
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Scale + COLOR Proportions of color should be considered in the context of the scale of the space and amount of lighting available. Grid systems based on the golden section can provide more accurate method for establishing relative color proportions in the initial planning stages of your design projects.
Using scale and proportion can enhance and alter the visual perception of our environment. Scale refers to the size of a shape in relation to a given known - in most case, the human body and its position within the space. Proportion is defines as the size relationships between elements and the visual composition or space.
As shown in many studies, our feelings about color depend on many facets of ou
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Hospitality + COLOR
Commercial Design Analysis Project: Fountainbleu Hotel Designer: Morris Lapidus Location: Miami Beach, FL
Variety is a principle of design that is concerned with the combination of one or more color elements that use line, shape, texture, and/or pattern to create diversity and contrast in an interior space.
Discussion This smaller lounge area is more private than the lobby area, being the perfect spot to gather with friends and be used as a wai�ng room. Color and line, shape, texture, and pa�ern are also very visible throughout the space. An important factor to create flow and connect the spaces together. The previous slide image was considered in analyzing color and pattern and line that are present throughout the lounge area of the hotel.
Color and Line In this par�cular space we find a great dis�nc�on in lines. The chandelier contains ver�cal lines that become thinner and more delicate at the bo�om, and it is centered in a circular shaped, white flowy ceiling, giving a relaxing and calm feeling. The black columns gives a great contrast to the so�ness of the room. The columns have a horizontal pa�ern that draws the eyes from the horizontal marble staircase to the column, and up to the ceiling. Crea�ng a sense of flow.
Color and PATTERN
Color and Pa�ern Pa�ern can be found all throughout the hotel floors. Public spaces and lobbies extensively use white marble, accented with the hotel designer Morris Lapidus’ signature black bow-�e pa�ern.
Color and LINE
Intro Situated on oceanfront Collins Avenue in the heart of Millionaire's Row, Fontainebleau Miami Beach is one of the most historically and architecturally significant hotels on Miami Beach, Florida. Its iconic design is a spectacular blend of Miami’s glamorous golden era and stylish modern luxury.
Discussion Fontainebleau Hotel’s main lobby is an explosion of color variety and line, shape, texture, and pa�ern detail. Together crea�ng an elegant and welcoming space for its visitors.
Color and SHAPE
The previous slide image was considered in analyzing color and shape and texture that are present throughout the lobby and bar area (main entrance) of the hotel.
Color and Shape When entering the hotel, it is impossible to miss the contrast of color and shape in the lobby area. From the organic shapes of the rugs, furniture, and ceiling details to the simple, yet elegant, straight columns. Color also abounds from the bright purple rugs and the black and white pa�erned marble floors to the gold chandeliers and columns Color and Texture Texture is not only present in the transi�on from the smooth floors to the organic shaped rugs, but it can also be iden�fied in the way the light shines through each piece in the chandelier, crea�ng there a visual effect of different textures.
Color and TEXTURE
REFERENCES
h�ps://fontainebleau.com/about h�ps://images.google.com/ h�p://forbestravelguide.com/miami-florida/hotels/fontainebleau-miami-beach/
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Rendering + COLOR
Starry Night, by Vincent Van Gogh is one of the most recognized pieces of art in the world.
BLUE dominates the painting, blending hills into the sky. The little village lays at the base in the painting in
BROWNS, GREYS, and
BLUES. Even though each building is clearly outlined in BLACK, the YELLOW and WHITE of the stars and the moon stand out
SECONDARY 2
ACCENT 2
SECONDARY 1
DOMINANT 2
DOMINANT 1
against the sky, drawing the eyes to the sky. They are the big attention grabber of the painting.
There are various interpretations of Starry Night and one is that this canvas represents hope. It seems that Van Gogh was showing that even with a dark night such as this it is still possible to see the shining stars filling the sky to guide you.
The range of the monochromatic color scheme sets the tone for a calm and relaxing environment which breathes tranquility into the interior space. In this color scheme, the darkest and lightest shades are used to create an immediate contrast, but also to create a balance between the two shades.
30%
30%
15%
10%
15%
The color scheme was developed from the complementary colors, Yellow-Orange and Blue. A 60.30.10 proportion was used, in which:
Dominant = 30%-30% Blue Secondary= 15%-15% Light Yellow and Brown Accent= 10% Dark Yellow
Experience
This exercise was a great learning tool not only to play with photoshop, but to understand how a space looks and feels like when we add color, texture, shapes, etc.
I personally did not like the color scheme from my image to apply it to a room. But I thought it was interesting to put something together not to understand what looks good, but what does not look good. The room lacks life, the colors are either dark or not saturated enough to give it a pop and bring the room back to life.
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Workplace + COLOR In order to understand how color is to be used beautifully to add interest and excitement to a space, it is necessary to look at a variety as one of the key principles of design to achieve this end.
“Order without diversity can result in monotony or boredom, diversity without order can produce chaos... a sense of unity with variety is the ideal�
ANALYSIS
LINE Red Vertical and horizontal lines are used on walls and ceiling of the Zimmerman Advertising building. Vertical lines symbolize strength and stability. Located next to the staircase, it also provides the upward and downward movement, emphasizing the height and perception of the space.
The color red strengthens the power of the vertical lines. Horizontal lines on the other hand are restful. By being places on the ceiling and connected to the vertical lines, it breaks the vertical plane and widens the interior, creating movement from side to side.
ANALYSIS
SHAPE Shape is the result of one or more lines connecting to form a twodimensional image. The triangular shapes found in many places throughout the building suggests stability and leads the eye upward toward the sky.
The thin outline applied on each triangle intensifies their meaning, giving the space a soul that speaks to us.
PATTERN Pattern is the repetitive arrangement of shapes and colors in a systematic horizontal, vertical, diagonal, and organic sequence. Pattern scale, material textures and finishes, and color harmony all work simultaneously to create visually interesting designs. In this particular image, the circles are used to create continuity and diversity. The circles can be identified in the brick, the wall, the lights, and even the tables.
ANALYSIS
TEXTURE Texture is the aspect of harmony that relates to the sense of touch. This sense may be stimulated either physically or visually. A surface can be smooth or rough. A colored surface can visually imply texture. Texture can be found all throughout the building, from the different flooring, to the ceiling, as well as the walls and the furniture.
DETAILS CONCLUSION EXPERIENCE Variety is the principle of design that is concerned with the combination of one or more color elements with shape, form pattern, and texture to create diversity and contrast in an interior space. The Zimmerman Advertising building is a great example of variety. The color red defines the spaces and gives strength to not only to the spaces but to their name.
Mouzinho COLOR + VARIETY _ WORKPLACE
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Conclusion Taking this class made me appreciate online classes. Since Module 1 everything has been very interesting and engaging. The textbook is incredibly helpful and very easy to read. I have been recommending everyone to take this class. All quizzes and blogs were very helpful in learning the content of each chapter. The course in general has made me look at interior spaces differently, and has made me analyze the world around me, as well as analyzing movies differently. Thank You for the great experience! Tchau