color theory ERIN TIMMONS
SUMMER 2017
table of
contents M1 M2 M3 M4 M5 M6 PAGE 5
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M7 M8 PAGE 37
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M9 M10 M11 M12 BYE PAGE 47
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color + ME
module 1
MEET ERIN My name is Erin Timmons, and I am in the second year of the three year graduate track in Interior Architecture at FIU. Prior to attending FIU, I earned a Bachelor of Science in Psychology from the University of Florida. I love that interior architecture requires not only creativity, but allows me to practically apply many of the concepts I learned from psychology. I aspire to have a career in the field of interior architecture working to design spaces that are not only beautiful and exciting, but enhance the lives of those who use them.
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When I’m not busy designing, I love to travel, read, and spend time with my family and my boyfriend. I also love caprese salads, photography, flowers and colorful shoes.
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BACKGROUND WHERE are you from? Miami, FL WHAT is your cultural background? My family has lived in America for generations. The first of my ancestors moved here from England in the 1600’s! I have ancestors from multiple family lines who fight in the American Revolution. My ancestors came here from several countries, including Germany, Ireland, England, Norway, and the Netherlands. WHO is your family … composition? I am one of 5 children, and now have a brother-in-law, a sister-in-law, two nephews, and two nieces as well! WHAT Languages do you speak? English WHERE have you lived? I was born in Miami, and I have lived here my whole life except for the years I spent in Gainesville while attending the University of Florida obtaining my undergraduate degree. WHEN did you become focused on design? After graduating from UF with my bachelor’s degree in psychology I did not know what I wanted to do next. I began working with my dad, a structural engineer, and was introduced to several architecture and interior design projects and fell in love with the field. At that time I decided to apply to FIU and began the Master’s Degree program.
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COLOR
Personal color preferences: I love the color turquoise. I often wear a lot of turquoise, blue and green colors. However, my color choices in my projects are often more neutral with one or two accent colors used more minimally. 9
color + designers
module 2
LUIS BARRAGÁN Luis Barragán was a Mexican architect and engineer. Born in 1902 and grew up outside of Guadalajara, Mexico. Barragán was educated as an engineer and graduated from Escuela Libre de Ingenieros in Guadalajara in 1923. In the 1920’s, he traveled extensively through Europe, and later in Morocco. His travels stimulated an interest in the native architecture of North Africa and the Mediterranean, which he derived inspiration from in the construction of his projects in his own country. Barragán’s work has often been referred to as minimalistic. He is known for his emphasis on color, light, shadow, form and texture. Barragán often called himself a landscape architect as he often placed as much emphasis on the exterior and surroundings of a building as he did on the interior. Barragán’s serene, yet evocative houses, gardens, plazas and fountains won him the Pritzker Prize in 1980.
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Built in 1948 in the suburbs of Mexico City, Casa Barragรกn consists of a ground floor, two upper stories and a small private garden. The design of the home integrates modern and traditional elements. Barragรกn is recognized for emphasizing color, light, shadow, form, and texture, and the design of his home incorporates all of these trademarks. One of the most prominent aspects of the design of Casa Barragรกn appears to be the use of flat planes.
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In the Vestibule, a bright pink wall is highlighted against adjacent white walls and the dark volcanic stone flooring. A key element in Barragån’s design is the use of both naturals and artificial lighting. Natural lighting is clearly important in this space, as the overhead opening allows amply natural light to wash through the room. As the lighting changes throughout the day so will the appearance of the colors in this space.
COLOR PALETTE
VESTIBULE 14
GROUND FLOOR: ENTRY Upon entering the home, one enters a bright yellow hallway leading to the vestibule room with a pink wall. This is the visitor’s first encounter with Barragán’s famous style. A progression is created from yellow to a complementary pink color as one moves through the hallway into the vestibule in the next room. COLOR PALETTE
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color + psychology +
perception
module 3
AMELIE Amelie is a movie about a waitress in a Paris cafe who has a uniquely vivid imagination. After finding a box of someone’s childhood treasure hidden in the wall of her apartment, she sets out to find the original owner and return the treasure to him. Once she sees the deep effect it has on him, Amelie decides to make it her mission to make others happy. Through this process, Amelie begins to more deeply connect with people and eventually finds love and happiness of her own.
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In this scene, Amelie discovers the hidden box of childhood treasures belonging to a previous tenant in her apartment that initiates her mission to make others happy. The colors used in this scene are bright whites and yellow tones. Compared to many of the other scenes in the movie, this scene is much more bright and white. These colors may have been chosen to highlight Amelie’s moment of clarity, and the importance of this scene in setting up the plot of the movie.
COLOR PALETTE
MONOCHROMATIC YELLOW 19
COLOR PALETTE
COMPLEMENTARY COLORS
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Red and green colors were consistently used throughout the movie. These bright, saturated complementary colors help to reflect the vibrant, fairy-tale world of Amelie’s imagination. The use of complementary colors creates maximum contrast and results in a vibrant, playful appearance.
This scene is colored mostly with shades of green, and has a few red accents as well. This is another example of the red and green color palette that is widely used throughout the movie, but in this instance the scene appears less saturated, and has a softer and more romantic look to it.
COLOR PALETTE
MONOCHROMATIC GREEN
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COLOR PALETTE
BLACK + WHITE 22
Scenes are colored black and white when events from Amelie’s imagination are depicted. The use of this desaturated color scheme offers a stark contrast to the vibrant colors used in the rest of the movie, and helps to highlight that these scenes are distinctly different from the others in that they are depicting imagined events and not reality.
Here, the color palette is mostly warm tones of bright red and orange, with an accent of a vibrant blue. Blue is a somewhat frequently used alternative accent color to green in the movie. In this scene, the blue offers a nice complement to the warm orange and red colors seen everywhere else.
COLOR PALETTE
COMPLEMENTARY COLORS 23
color + bALANCE
module 4
COLOR + BALANCE BALANCE refers to the relationship of different hues to one another when each is perceived to be equal in perceived visual weight. Without balance, the remaining principles and elements of a design get lost and lack cohesion. Color balance can be achieved through contrast of hues, contrast of values, and contrast of chroma. Hue balance can easily be achieved through the use of a complementary color palette. In the image on the far right, for example, the cool blue hues used in the space are balanced with the introduction of the warmer orange hues of the table base and copper light fixtures. Intensity (chroma) contrast involves the use of varying levels of intensity of color. Balance of color intensity is important in creating visual interest. Too little intensity can result in a lack of visual interest, and too much intensity can result in an overwhelming and unsettling environment. Value contrast can bring balance to monochromatic color palettes by introducing lighter and darker values of a single color to create contrast. 26
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color + HEALTHCARE
module 5
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COLOR + HEALTHCARE The use of color in healthcare settings is an important part of any design. How color impacts people’s perceptions in healthcare settings is important, but research has shown that it is influenced by a variety of variables which are not all easily discernible or uniform. Nonetheless, this research has helped to create suggested guidelines for preparing color plans in healthcare facilities. When designing for a specific space, it is important to consider the many variables identified in the research that can influence how different people will experience the space. Research has shown that factors such as age, general background, ethnicity, and other factors should be acknowledged. Many color preference assumptions have been made over the years, and research has proved that these assumptions should be challenged. Colors should be chosen based on the specific population of user, room type, and intended use. Every room is different, so color should not be used in the same way in every room. At the most basic level, color-coded way-finding signage along with corresponding color-coded walls and surfaces can help people differentiate spaces as they move through lobbies, corridors, elevators, and similar circulation spaces. Different patterns and colors can similarly be used to more readily differentiate level changes in order to prevent stumbles and falls. 31
color + RHYTHM
module 6
COLOR + RHYTHM RHYTHM is a natural evolutionary trait in nature that can be transferred into interior spaces and can be further emphasized with color. Alternating hues, progressive values, or contrast of saturation are methods which can be used to bring rhythmic order into a space. The purpose of rhythm is to provide an opportunity to move the viewer through the space, creating moments of emphasis or downplay of various design elements. According to the text, there are five types of rhythm associated with color: repetition, alternation, progression, continuation, and radiation. Primarily, color rhythm occurs through contrast of high and low saturation achieved through hue sequence, value sequence, or multiple color sequence. Repetition is the systematic orderly succession of identical design elements along a defined path in space, such as the large black light fixtures in figure 4. Alternation occurs when two design elements are repeated in sequence similar to repetition; however, the difference is that the pattern indicates two distinctly different elements as opposed to one element repeating. Progression involves the repetition of similar elements with a continuous change (large to small, low to high, narrow to wide, light to dark). Color continuation refers to the placement of one or more colors throughout an interior to create a continuous movement of the eye through the space. Color radiation uses a concentric color arrangement instead of objects to unify design elements and create visual movement, verses the traditional sense where it is an arrangement of objects in a radial pattern. 34
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color + RETAIL
module 7
CONTRAST OF HUE AND VALUE
COLOR PALETTE
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The Tesla store was designed using a minimal color palette of black, white and gray with accents of red. These are very bold, powerful colors and help to emphasize the idea of power, and associate it with the Tesla brand.
FOCAL POINT
The architectural focal point of the store is the white ceiling plane that runs through the entire store and comes down onto the wall in the rear of the store. This white plane contrasts with the black color of the rest of the ceiling, and the top portion of the side walls. The stark contrast creates a runway-like effect, highlighting the central area of the store where the cars are displayed. 39
CONTRAST OF
TEXTURE
Most of the textures used in the store are very slick and smooth, and glossy. Contrast in texture within the store is minimal, creating a very sleek and modern overall environment. An interactive wall is a key element within the space, allowing customers to further explore the Tesla brand and vehicles. 40
CONTRAST OF TEXTURE
A more intimate zone in the back of the store contrasts the rest of the space in terms of scale, as well as texture. This area has lower ceilings, softer carpeted flooring, and provides the only seating offered within the store. The difference in texture in this area creates a more cozy and comfortable meeting area. 41
color + SCALE
module 8
COLOR + PROPORTION + SCALE Proportion is considered to be one of the key elements that we use to rationalize and seek order in the things around us. Proportion is defined as the size relationships between elements and the visual composition or space as a whole. Scale refers to the size of a shape in relation to a given known. In design, the human body is often used as a reference in terms of scale. Many systems have been created for determining and providing proportion and scale. These include the golden section, the Fibonacci sequence, Le Modulor, and nature’s proportions.
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Unity is defined as the repetition of color to achieve a unified whole. Harmony is the result of a perfect balance between individual color relationships. According to the text, color harmony can be recognized when our eyes are not overworked when trying to view the scheme. If the color combination results in a pleasing whole where no one color stands out, then you’ve achieved a color harmony. “Our brains look for elements, and when we recognize them we see a cohesive design rather than unorganized chaos.” (Lauer & Pentak, 2007, p.29)
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color + CAMERA
module 9
COLOR + CAMERA Photography is the science, art and practice of creating durable images by recording light or other electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film. Typically, a lens is used to focus the light reflected or emitted from objects into a real image on the light-sensitive surface inside a camera during a timed exposure. With an electronic image sensor, this produces an electrical charge at each pixel, which is electronically processed and stored in a digital image file for subsequent display or processing.
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color + HOSPITALITY
module 10
THE MONDRIAN HOTEL
COLOR + VARIETY COMMERCIAL DESIGN ANALYSIS
PROJECT: The Mondrian Hotel LOCATION: South Beach, Miami, FL DESIGNER: Marcel Wanders The color palette used throughout the overall hotel is a simplistic black and white palette with accents of gold. Because the palette is so simplistic, variety is highlighted through the other elements in the space. I think that the palette works well in this design because there is so much variety in other elements, such as shape and pattern. The more minimal palette helps to balance the design, and keeps the design from feeling overwhelming. Visual weight is also an important aspect of this design. Scale and proportion play an important role, and the use of oversized elements within the space, such as the columns, the large gold light fixtures, and spa reception desk is common.
COLOR PALETTE
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LOBBY DESIGN
DESIGN DETAILS LINE I would say that the design of the lobby does have linear variety throughout. While there are strong vertical linear elements, such as the columns and mullions, the majority of the lines in the space are more curvilinear, following the form of the oversized light fixtures and spiral staircase. There is a good use of variety in line in the space. SHAPE Variety in shape is the primary form of variety used in the lobby design. Marcel Wonders played with proportion and scale throughout the design of the hotel. Oversized bellshaped lights contrast with the playful curvy columns, spiral staircase, and sculptural linear/spherical decorative trees.
LINE
SHAPE
TEXTURE
PATTERN
TEXTURE The majority of textures throughout the lobby are very smooth and slick, such as that of the tile floor and smooth acrylic on the columns and mill work. However, the pattern used on the staircase creates contrast and variety within the space through its strong visual texture. PATTERN Overall, the elements in the lobby are very white and glossy, lacking pattern. A very dominant black and white pattern is introduced through the stairway, as well as the black and white floor pattern used near the reception desk. The minimal use of pattern is very impactful in that it creates a strong focal point at the stairway.
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SPA DESIG
DESIGN DETAILS LINE The variety in line in the spa is similar to that of the lobby. Horizontal lines are used in the shelving on the left wall, and subtle horizontal and vertical lines can be noted through the rectangular opening behind the reception desk, as well as through the column. SHAPE Just as in the lobby design, variety in shape is an important design element in the spa. There is a mixture between rounded, more curvilinear forms such as the reception desk, with the irregular shape of the column, and the more linear form of the shelving and glass panels behind the reception desk.
LINE
SHAPE
TEXTURE
PATTERN
TEXTURE Similarly to the lobby, several very smooth and slick textures are used throughout the space, such as that of the tile flooring, glass panels, and column. Variety is introduced through the mirrored tiled finish on the front of the reception desk. PATTERN The color palette used in this space is very monochromatic white. Although the space is majority flat white, similar to the lobby, pattern is introduced through the damask printed on the glass behind the reception desk. The same pattern is used on the stair and floor pattern in the lobby, however the pattern is black and white in that area. The use of the pattern in white in the spa adds variety, but carries the minimal, clean and relaxing white palette through the space.
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color + rendering
module 11
COLOR + BALANCE: R E N D E R I N G The image I chose depicts yellow-orange fall leaves over a deep blue background. The color palette is complementary, creating maximum contrast. Blue is a very soulful color, and has been associated with honesty, truthfulness, stability, trust, loyalty, and compassion. Orange has been associated with reliability, happiness, ambition, and superiority. Endurance, strength and success can describe the emotional value of the color orange.
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ACCENT
SECONDARY
ACCENT
DOMINANT
DOMINANT: A neutral grey color is the dominant color is used in 60% of the space SECONDARY: Blue is the secondary color, used in 30% ACCENTS: Two accent colors, yellow-orange and black, each represent roughly 10% of the space
The inclusion of grey and black add neutrality and keep the space from becoming too saturated and overwhelming.
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color + culture
module 12
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HOLLAND As mentioned in Module 1, my family has lived in America for generations. The first of my ancestors moved here from England in the 1600’s! I have ancestors from several countries, including Germany, Ireland, England, Norway, and Holland. For this assignment, I chose to highlight my Dutch heritage and discuss the colors of the Netherlands. Orange is an important color in the Dutch culture. Orange is the color of the Dutch Royal Family, which hails from the House or Orange. This vibrant color is worn in Holland to celebrate holidays, and is also the color of the Dutch soccer team. Its long spring season with cool nights makes Holland the perfect environment for tulip growing. Tulips were first imported into Holland in the sixteenth century, and by the seventeenth century were so popular, and so expensive, that they were actually used as currency. The striking colors of the flowering tulip bulbs are an overwhelming sight, and have become an icon of the Netherlands. 71
ITALY For the second country, I chose the Italian culture. I recently completed the Cruise Ship and Super-yacht certificate curriculum, and had the opportunity to study abroad in Italy. I fell completely in love with the country and the Italian culture. I loved their friendly hospitality, their sense of humor, the fact that businesses shut down for three hours every afternoon, and their more relaxed lifestyle. Italy is a very colorful country. From the vibrantly painted buildings, to the rainbow colored gelato flavors, to the gorgeous natural landscape, Italy is incredibly colorful and photogenic. Italian sports teams play in blue shirts rather than the colors of their national flag in a custom dating back to the country’s pre-republican days. Blue was the official color of the Royal House of Savoy, and this tribute to the Italian monarchy survives today.
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CONCLUSION
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CONCLUSION I really enjoyed taking this course and learning more about color theory. My favorite assignments were the movie assignment from module 3, the photography assignment from 9, and the culture assignment from module 12. I learned a lot of valuable information from this class, and look forward to applying it to my future design projects. In general, I have not included very much color in my designs thus far, but this course has encouraged me to be more bold with color.
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