COLOR THEORY
AND APPLICATION FOR THE BUILT ENVIRONMENT
KELLY PRIVAT IND 5325
3 7 11 19 27 31 35 55 65 73 79 85 1
COLOR + ME COLOR + THEORY COLOR + DESIGNERS COLOR + ENVIRONMENT COLOR + BALANCE COLOR + HEALTHCARE COLOR + YOUR CAMERA COLOR + RETAIL COLOR + HOSPITALITY COLOR + VARIETY COLOR + WORKPLACE COLOR + CULTURE
TABLE OF CONTENTS
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M1 3
1 COLOR + ME
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M1 7
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COLOR + THEORY
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WHAT IS COLOR THEORY? AS RON REED DESCRIBES IT, COLOR THEORY IS THE STUDY AND PRACTICE OF A SET OF PRINCIPLES USED TO UNDERSTAND THE RELATIONSHIPS AMONG COLOR.
TYPES OF COLOR MIXING: SUBTRACTIVE FOR PIGMENT ADDITIVE FOR LIGHT
HUE: PURE COLOR VALUE: LIGHTNESS OR DARKNESS OF COLOR CHROMA: PURITY OF COLOR TINTS: ADDING WHITE TO HUE TONES: ADDING GREY TO HUE SHADES: ADDING BLACK TO HUE PRIMARY HUES: RED, YELLOW, BLUE SECONDARY HUES: ORANGE, VIOLET, GREEN TERTIARY HUES: RED-VIOLET, BLUE-VIOLET, YELLOW-GREEN
COLOR SCHEMES:
COMPLEMENTARY ANALOGOUS SPLIT COMPLEMENTARY MONOCHROMATIC TRIAD TETRAD
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M2 11
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COLOR + DESIGNERS
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THE SCHRODER HOUSE GERRIT RIETVELD
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GERRIT RIETVELD Gerrit Thomas Rietveld was an ar�st, designer and architect. At the age of age 11, he le� school to work as his father’s appren�ce has a joiner. Rietveld taught himself how to draw, paint and make models. He later opened business as a cabinet-maker. Knowing how to make furniture, he became influenced by the ‘De S�jl’ movement, and created the Red and Blue Chair. With the help of Walter Gropius, he was able to make an exhibit at the Bauhaus. In 1924, he designed the Schroder House which was had a radical free plan on the upper floor and an sta�c first floor. Other people he collaborated with are Robert van’t Hoff and Vilmos Huszar and later with Theo van Doesburg and Cornelius van Eesteren.
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DE STIJL MOVEMENT & PIET MONDRIAN Reitveld became so influenced by the De S�jl style (or neoplas�cism), which embraces abstract, geometric forms, and primary colors. This movement make all forms into orthagonal lines and planes. Because of its abstrac�on, this movement grasps the simpliest form and essence of color. Piet Mondrian portrayed this art movement carefully and so, the Schroder house seems as a 3D version of Mondrian art.
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COLORS “Colors where chosen as to strengthen the plas�city of the facades; surfaces in white and shades of grey, black window and doorframes, and a number of linear elements in primary colors. ”
Gerrit Rietveld uses primary colors with an achroma�c pallete. Red, blue and yellow creates all hues, and white, black and grey create �nt, shade and tone, respec�vely. Using these colors make up all of the colors that we could possibly see. Because the reasoning of using primary colors is to keep the essence of color, the colors chroma is pure. All colors are pure hue. These image are of the same room. We can see the walls are prodominantly white to keep from over popula�ng the room from too much intense color. Red is a limited color, probably because of its intensity, and is used to highlight furniture pieces. or linear elements. Black contrasts nicely with the white make it seem not as powerful as it could be even though it is used o�en, not just on linear elements. Blue is used more for planes in small sec�ons or on a small wall since it compliments yellow, because of less strain on the eye. To �e everything, grey is used just as well as blue and yellow which mellow out black and white, being in the middle of both extremes. 16
CONCLUSION
Reitveld was influenced by neoplas�cism while designing the Schroder House, expressing abstrac�on of form and color in its simplest essence. Because of the free plan, the house became a 3D version of Piet Mondrian’s art pieces (also influenced by this movement). The house was made of primary colors and and achroma�c pallete because these choosen colors create all other colors, reflec�ng the De S�jl movement on planes and lines.
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M3 19
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COLOR + ENVIRONMENT
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PULP FICTION
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FILM SUMMARY The movie starts at a coffee shop, when Ringo and Yolanda are discussing robbing the restaurant. Jules and Vincent are on their way to pick up a briefcase for Marsellus Wallace. Later, Vincent picks up Mia Wallace to take her out for the night, when they return she overdoses on heroin. Vincent gives her an adrenaline shot to save her. Butch had an agreement with Marsellus Wallace to fake a fight and lose. We see Butch having a flashback to when he was a child, receiving a watch passed down from his dad to him. Butch wakes up and goes to fight. He flees the fight a�er winning, and goes to a hotel to his lover Fabianne. She forgets the watch so Butch has to return for his watch. When he goes to his apartment, he finds Vincent and kills him. He finds Marsellus Wallace as he is returning to Fabianne, and runs him over. Marsellus wakes up and chases Butch, ending up in a pawn shop with two sexual predators. Butch escapes as they rape Marsellus and Butch saves him. Butch returns to Fabianne and they leave town. We go back to Vincent and Jules when they extract the briefcase. One of the kids jump out and shoots but misses both Vincent and Jules. Jules believes its divine interven�on. As they drive to Marcellus, Vincent shoots Marvin and the car is full of blood. They go to Jimmy’s where they meet with Winston Wolf to clean the car. They leave the car at a junkyard and go to eat breakfast at the coffee shop. The ini�al scene commences. Ringo confronts Jules for the briefcase but Jules does not let him have it. He recites his bible verse and explains he is not going to kill this �me. Ringo and Yolanda leave with the money, and Jules and Vincent go to see Marcellus. As you can see by the poster, the color theme in the movie is yellow and red. In most of the scenes, yellow means cau�on or something ac�ve (as if something is going to happen). Red is vengeance, blood and violence. These warm colors are some�mes contrasted by a single cool color which stands out in a scene but symbolizes something strong. These warm colors are also seen in darker shades to signify something dark or a dark force not to mess with.
SCENE ANALYSIS The se�ng of warm colors in this scene is a club, probably owned by Marcellus Wallace. The dark red foreshadows the feud between Marcellus and Butch, and Vincent and Butch. There are also some hints of blue which can represent the calmness of the current scene. There seems to be heat however, no blood is spilled yet. Another dominant color is brown. Brown is a masculine color and men associate with it. Both Marcellus and Butch wear it and both clash. In this scene, Marcellus tells Butch not to cross him, to lose the fight and remember that they have a deal. When Butch crosses him and finds him, he runs Marcellus over and crashes. A�er waking up, Marcellus shoots Butch in the leg. They run and end up at a pawnshop where Marcellus gets raped. The room is dark and both seem as they are wearing red because of the blood. In the end Butch saves Marcellus and their feud ends. Before Butch finds Marcellus, he goes to his apartment for his watch. He finds Vince and shoots him with his own gun. In this scene, Vince is seen dead with a yellow �le background. The red and yellow is s�ll seen, in this case, yellow meant cau�on. Butch could have been killed. It can also foreshadow his future encounter with Marcellus.
COLOR PALETTE
REDS
YELLOWS
BROWNS
BLUES
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SCENE ANALYSIS The top is when Mia overdoses on Heroin. Vincent brings her to Lance, his drug dealer. The scene is shades and �nts of yellow. All are scared and nervous injec�ng Mia with the adrenaline shot. For a moment, there is an an�cipa�on when Vincent goes to give her the shot. Jody with a sick an�cipa�on, watches Vincent; a close up of the needle as the liquid drips from the �p and closeups on all the characters.
YELLOWS
COLOR PALETTE A�er Mia is be�er and alive, the scene where Vincent returns her to her house is blue and green, meaning cool. The shades are dark as if it reflects what had just happened. In his scene they are both calm and relieved that Mia is ok. Mia says good night to Vincent and is safe in her home. As a comic relief she tells Vincent the joke she said in her TV pilot.
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SCENE ANALYSIS We are introduced to child Butch as a friend of his dad, who was killed in the war, brings him a watched passed down from genera�on to genera�on. The mood is more of a nostalgic shade of yellows and browns and some hints of blue. A complimentary color scheme is used with orange and blue. It is of a great memory of receiving his most prized possession, his father’s watch. The blue represents calmness and a comfortable mood, with some comic relief with the soldier’s story of Butch’s father’s watch. Butch later wakes up and is ready to fight. The same color scheme con�nues however, it changes back to the original mood of the movie. Yellow means cau�on again because this is when Butch betrays Marcellus.
COLOR PALETTE
YELLOWS
BROWNS 25
BLUES
SCENE ANALYSIS This is the last scene of the movie, when Ringo and Yolanda are robbing the coffee shop. Again, shades and �nts of yellow is seen through out. Yellow in this scene is more of cau�on and an�cipa�on. Just as Jules contemplates his life, Ringo and Yolanda start the robbery. Jules and Ringo are wearing blue shirts. Blue is a peaceful color and they both remain cool in this situa�on, Jules repeats the word “cool” over and over. Jules controls the situa�on and no one ends up hurt. Yolanda is wearing a purple dress. Purple is a color produced from red and blue. We can see the red when she starts screaming as soon as Jules points a gun at Ringo. She worries and gets aggressive. However, she tries to remain cool, which is the blue. Jules wears a light blue shirt. During this scene he remains cool. As Vincent steps away to go to the bathroom, Jules is le� on the table alone looking pensive and reflec�ve. This is represented with light blue. The contrast of red and blue is a theme in this scene not only with Yolanda, but with Yolanda and Ringo, and Jules’ character. Yolanda and Ringo are like opposites that a�ract, and like the way they rob they have different roles. She is crowd control which means she needs to be aggressive and in�mida�ng to scare people (red). Ringo’s words as he is starts the robbery is “Everybody be cool, this is a robbery.” He is represented by the color blue. Jules’ character through out the movie contemplates whether he should be a hit man anymore. The blue shirt and red shorts are like a inner ba�le od trying to be at peace and let go of his past however, during this scene it is clear that he can s�ll be in�mida�ng and aggressive (blue is the top and red below).
COLOR PALETTE
YELLOWS AND BROWNS
PURPLE
BLUES
M4 27
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COLOR + BALANCE
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WHAT IS BALANCE? AS RON REED DESCRIBES IT, IT IS STRIVING TO ACHIEVE THE POINT OF EQUILIBRIUM BETWEEN TWO OR MORE FORCES.
TYPES OF BALANCE:
SYMMETRY (FORMAL BALANCE) ASYMMETRY (INFORMAL BALANCE) RADIAL (RADIATING FROM A CENTRAL AXIS)
TYPES OF COLOR BALANCE:
VALUE CONTRAST (LIGHT/DARK) HUE BALANCE (COMPLEMENTS) INTENSITY CONTRAST (BRIGHT/DULL) SIZE OF COLOR AREA (LARGE/SMALL) INTERIOR SPACES ARE DIVIDED INTO VERTICAL PLANES (WALLS) AND HORIZONTAL PLANES (CEILING AND FLOORS). INTENSE COLOR SHOULD ALWAYS BE BALANCED WITH DULL COLOR OR NEUTRAL WHITE, BLACK, OR GRAY TO AVIOD EYE STRAIN FROM CONSTANT SHIFTS IN VALUES. A ROOM CAN HAVE AS LITTLE AS ONE COLOR AND SHOULD NOT HAVE MORE THAN FIVE COLORS AND A SPACE THAT ONLY HAS ONE HUE CAN BECOME BORING. LIGHT COLORS NEED TO BE BALANCED WITH DARK COLORS, HIGHLY SATURATED COLORS NEED TO BALANCED WITH DULL COLORS, AND THE INTENSITY OF COLORS NEED TO RELATE TO OTHERS TO CREATE A HARMONIOUS PALETTE.
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M5 31
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COLOR + HEALTHCARE
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THE 12 ASPECTS OF A HEALING ENVIRONMENTAL: SINGLE PATIENT ROOMS ERGONOMICS FURNITURE ARRANGEMENT AIR QUALITY WINDOWS WAYFINDING BUILDING LAYOUTS AND ZONING ACCESS TO NATURE LIGHT - PARTICULARLY NATURAL DAYLIGHT FLOOR MATERIALS NOISE CONTROL POSITIVE DISTRACTION THROUGH THE USE OF AESTHETICS THE PALETTE CHOSEN FOR WAITING AREAS SHOULD BE CALMING AND SOOTHING WITH A VARIETY OF COLORSACCENTS AND ART FOR VISUAL INTEREST. DESIGNERS MAY CHOOSE TO INCORPORATE WARM AND VISUALLY COMFORTING COLORS FOR CORRIDORS. YOUTH AREAS SHOULD INCORPORATE COGNITIVE STIMULATION AND DESIGNERS MAY USE LARGE AMOUNTS OF BRIGHT COLORS ON WALLS.
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COLOR + YOUR CAMERA
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This compila�on of images demonstrate different textures and imperfec�ons found in South Florida roads. Coincidently, the images mostly follow a complementary color scheme which is highlighted.
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COLOR + RETAIL
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CONTENT: CONTRAST OF HUE CONTRAST OF VALUE CONTRAST OF A DESIGN FEATURE CONTRAST OF TEXTURE FOCAL POINT
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CONTRAST OF HUE LUCKY BRAND IS KNOWN FOR THEIR ICONIC BLUE AND BROWN SCHEME, HOWEVER THIS SEASON IS ALL ABOUT RED. WE CAN SEE THE CONTRAST BETWEEN THE COOL COLOR BLUE, WITH SOME PURPLE AND THE WARMNESS OF THE RED WITH SOME ORANGE AND YELLOW. BROWN IS STILL KEPT BUT IS MORE OF A SECONDARY COLOR. THIS SEASON, THE SCHEME IS MOSTLY BLUE VS RED.
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CONTRAST OF VALUE THE CONTRAST IN VALUE CAN BE SEEN WITH THE SHIRTS. SOME OF THE SHIRTS ARE PLAID WHICH ALLOWS YOU TO SEE THE SHADES OF THE HUE.
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CONTRAST OF DESIGN FEATURE WHAT I FOUND COMPELLING WAS THE DIFFERENT WOODS USE. THE SHELVES WERE ALL DIFFERENT CONTRASTING JUST THE COLOR SEEMS ODD SINCE ITS ALL SMOOTH. THERE ARE ALSO OTHER MATERIALS CHANGING THE STYLE AND CONSTRUCTION OF IT . THERE IS A HUGH CONTRAST BETWEEN THE WOODS, MAKING IT SEEM LIKE IT IS DIFFERENT MATERIAL BUT IS NOT.
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CONTRAST OF TEXTURE THERE IS A CONTRAST BETWEEN SMOOTH AND ROUGH MATERIALS FOR THE FINISH. EVERY PART OF THE STORE IS SMOOTH EXCEPT THE FURTHEST WALL IN THE EXHIBITION AREA. THIS PLAY OF SMOOTH VS ROUGH IS DEPICATED WITH SMOOTHNESS IN ALL MATERIAL LIKE THE SHELVES OF WOOD AND THE ROUGH WALL IS BRICK. BOTH HOWEVER ARE PLAYING WITHTHE VALUE OF A HUE.
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FOCAL POINT LUCKY BRAND’S PRIMARY AD IS FOR DENIM AND SO DEMIN IS THE FOCUS IN THE STORE. THE HEAVINESS OF THE COLOR IS EMPHASIZED BY THE OFF WHITE COLOR MOSTLY ON THE CEILING, AND BY THE SHELVING ON THE WALLS. BECAUSE THIS DARK COLOR IS ITS ICONIC COLOR, OTHER ARTICLES OF CLOTHING IN THE SAME COLOR JUST SEEMS TO ADD ON TO THE DEMIN, MAKING YOU THING AT A GLANCE THAT DENIM IS ALL YOU SEE.
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10 COLOR + HOSPITALITY
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VARIETY is a principle of design that is concerned with the combina�on of one or more color elements that use line, shape, texture, and/or pa�ern to create diversity and contrast in an interior space.
PROJECT: 1 Hotel DESIGNER: Kobi Karp LOCATION: South Beach
OVERVIEW IMAGE
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Discussion
The 1 Hotel lobby brings the exterior in with a light wooden interior embracing natural materials. The vibe from the colors and textures celebrates a more relaxing aspect of Miami, resembling its beaches as a serene getaway. The lighter natural colors and green accents represent the exterior landscape right behind.
Color + Line The lobby draws a�en�on with ver�cal lines represented by the columns and curtains accentuate the double-height ceiling. The ver�cality and light colors mimics the vastness of a beach. Color + Shape The natural colors and lightness with curved ligh�ng fixtures con�nues with the concept of the exterior landscape. Circular shapes are used to represent more natural forms. Color + Texture The wooden furniture’s texture varies from a rough weathered feel or a smooth finish. The columns are a white weathered texture. This harmony of weathered vs. smooth finish represent a natural look and more sophis�cated, respec�vely. Color + Pa�ern The lobby is surrounded by wooden trellis and tall columns. The ver�cal stripes is used to separate spaces and diffuse views between spaces similar to how tree trunks can create more privacy.
Details
The wooden material and light natural color pallet vary in texture and shape to create a beach-like atmosphere inside the lobby space
line
Line - columns and curtains
texture
Texture – furniture and columns
shape
Shape – ligh�ng fixtures
pa�ern
Pa�ern – wooden dividers
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Discussion
The main pool area at 1 Hotel con�nues the exterior landscape into the hotel area. The same hues and �nts found just a couple of feet away flow seemingly into the pool area with views of the beach just as you glance up. Miami’s natural environment is recreated a using the same materials and textures. Color + Line The columns and headers create a transi�on space from the cabanas to the pool area. These lines frame the path in between marking a space in between to walk though. Color + Shape The same light natural color and shape from the interior is used for the plant plots, highligh�ng green accents found at the beach from the foliage. Color + Texture The floor is a smooth, natural �nt of cement surrounding the pool. The floor’s texture and color simulate the sand’s smooth look from afar. The pool area and beach looks as if they blend together. Color + Pa�ern Wooden furniture con�nues on the exterior of the hotel. The pa�ern of linear wood mimics the trees and boardwalk for a con�nuous flow of atmosphere. Natural materials give a warm feel to the area, contras�ng the cabana and the pool area. Wooden highlights keep the same color language from the cabanas throughout the pool.
Details
The materials in the pool space, like the wood, sand, and tan textures, are found at the beach. This makes the waterfront space feel as if you right at the shore.
line
Line - columns and headers
texture
Texture - floor
shape
Shape - plant pots
pa�ern
Pa�ern - tables and chairs
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11 COLOR + VARIETY
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Choosing a pale�e was difficult for this assignment but I choose this pale�e because of the subtle change of colors. I thought about how i could play with the shades and tones of the purple and how the blues would create a calm mood.
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Dominant 2
Dominant 1
Secondary 1
Accent 1
Accent 2
Secondary 2
Blue - tranquility and calmness Purple - mystery and royalty In this case the light purple looks more white in the photo which is associated with innocence and purity in a field of a calm blue.
The picture drew my a�en�on because of its innocence which also made the selection process lean more towards this one. I also picked it since purple and blue are my favorite colors and I have never played with a analogous scheme so it was a great first.
COLOR SCHEME ANALOGOUS SCHEME This palette is all tints and tones of warm colors. The dominating colors are the nts of purple close to white. The secondary colors are the lightest blue and purple in a less saturated and darker form, respectively. The other two colors are more of a hue and shade of blue which were chosen as accents since they are the heaviest colors.
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Star�ng out the assignment I thought of a beach like atmosphere because half of the pallete is blue and the �nts look very close to light neutral colors. The purple was used as more a shade since it looked more of a tone and used it for a wood color. The floor and ceiling are the same toned purple which is why it compliments it well even if the textures are different. The wooden couch frame and table a shade of the purple. The domina�ng colors are the neutral colors used for the walls and some accents because of the closeness to the color of sand. The secondary colors are the purple and the lightest blue. The floor, ceiling, lamp, oars, table and frame for the couch have the purple tone or shade to play with darkness because of how light the pale�e is. The light blue is shown on the wall, frame, shades, and middle coffee table. The accents are the other two stronger blues which are found as the color of the sky, jar sand, molding, rug and couch fabric to ground the colors. They are all found in the lower part of the living room since they are heavier. 78
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12 COLOR + WORKPLACE
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PROJECT: ONE WORKSPACE DESIGNER: DESIGN BLITZ LOCATION: Santa Clara, CA
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DISCUSSION | ANALYSIS Line
The center of the One Workspace contains a structure with curved edges. This huge piece highlights the importance of this work sta�on, over looking out the building. The rest of the building has straight edges while this area has an over sized curved, black line accentua�ng it.
Shape
line
Texture
shape
The ligh�ng in the building take organic shapes. Some of the main ligh�ng fixture have this organic curvilinear shape with the same thick black line as the center workspace. The black curvilinear feature contrasts the rest of the straight edges which highlights objects in the workspace. Most of the textures in the workspace are smooth steel. The steel is a reflec�ve smooth texture. The texture seen is perforated with the organic shapes crea�ng movement like the center workspace in the building.
Pa�ern
The floor has a carpet texture in most areas which has a rough black and white wooden pa�ern. This contrasts the wooden floor next to the carpet. The carpet is for a generic workspace and the change in floor iden�fy other specific areas.
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line
line
texture pa�ern pa�ern
DETAILS
IMAGE
IMAGE
IMAGE
The details in lines used create movement through main areas (general workspace) and a more sta�c feel in specific areas (conference room).
CONCLUSION | EXPERIENCE
IMAGE
IMAGE
IMAGE
This play with organic and orthogonal shapes change depending on program. The color pallet used is warm colors with accents of red. Green and brown are used with the organic shapes for a natural feel. The white and gray is used as the dominant colors. The green and blue as secondary colors and the red, purple and black as accents. This color pallet is also playful and so� enough for a relaxing work environment.
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13 COLOR + CULTURE
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Honduras & Peru My culture is of both Honduras and Peru. My mother is Honduran and my father is Peruvian. Both cultures are in my daily life, mostly with food. I usually eat peruvian food and observe some tradi�ons like going to mass for any event like birthdays, deaths and holidays. I do not follow any Honduran tradi�ons however I enjoy the cuisine, especially ‘pupusas’ and ‘carne asada’. Both Honduras and Peru have a rich culture guided by its indigenous history. Honduras descends from the Mayan culture and Peru from the Incas. Despite the similari�es in their background they are completely different cultures, with the only similarity being religion.
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your COUNTRY Honduras
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The colors of the Honduran flag are white and blue. The two blue stripes represent the Pacific Ocean and the Caribbean Sea. The stars represent the 5 countries that were once Honduras, El Salvador, Costa Rica, Nicaragua, and Guatemala. It reminds us of the union and hope the na�ons may form again, which is what the white represents.
The color pale�e in Honduras uses both cool and warm colors. In architecture, green, brown, and grey are most predominant in the ruins and rural areas. All these colors represent nature because of the materials used. The grey is usually stone or some roofing material. The brown is dirt to make the adobe houses and the dry palm leaves for the roofs. These materials now are now only used for farmers, when originally they were used by all Na�ve Americans. Grey used to mean wisdom, however it no longer applies. Slums also use this natural pale�e with some warm colors faded on to the walls. Warmer colors are used in urban areas to highlight important places like churches and religion in general. Tradi�onal clothing for fes�vals have all the colors. Men wear white shirts with red scarfs and women wear colorful dresses.
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your COUNTRY Peru
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The colors of the Peruvian flag are white and red. The red represents the violence and blood spilled for freedom from the conquistadors and the white represents peace. In some occasions, white is used to represent the color of skin from the conquistadors. White masks may be used in tradi�onal dances to mock them.
The color pale�e in Peru uses predominantly warm colors. The warm colors represent heat since the climate in the mountains is usually cold or snowing year-round. Most of the objects made like jewelry and po�ery have hints of red or warm colors. The warm colors also represents their religion and how the indigenous people would worship the sun god. In urban areas warm colors also represent important landmarks like churches. As apposed to people, nature and homes have a more natural color, similar to Honduras. Slums may also have some faded hints of warm colors, however because of the materials natural colors are the dominant colors.
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