All About Color Color Theory. Final Book. Leandro Lujan
All About Color
Color Theory And Application For The Built Environment Leandro Lujan Milian FLORIDA INTERNATIONAL UNIVERSITY PROF. DARCI PAPPANO SPRING 2019
content
01
02
03
Color + Me This is my introduction to the class. Here I give you a hint to know me better as a person and as designer. Come with me!, This travel is just starting.
Color + Culture In this chapter we explore the culture of my country: Cuba, and a country of my preference: Mexico
Color + Theory This chapter resumes the chapter of the book. It has some points that I thought were interesting. All the comments are based in the texts found in the book.
04
05
06
Color + Designers Analysis of the Schroder House by Gerrit Rietveld.
Color + Psychology + Perception This chapter resumes the chapter of the book. It has some points that I thought were interesting. All the comments are based in the texts found in the book.
Color + Film Analysis of color in film. The movie chosen is Amelie, a French film focused in the live of Amelie, that is perfectly narrated through the use of colors.
07
08
09
10
Color + Balance This chapter resumes the chapter of the book. It has some points that I thought were interesting. All the comments are based in the texts found in the book.
Color + Retail In this chapter we are going to look at the relationship of color and emphasis through the analysis of a retail interior. The space chosen is the Studio Xfinity, in Washington DC.
Color + Hospitality Analysis of a hospitality project through the lenses of variety and unity in Interior Design.
Color + Workplace Analysis of the use of color and variety in the workplace. The space analyzed is Zimmerman Advertising located in Fort Lauderdale.
CHAPTER 1
Color + Me This is my introduction to the class. Here I give you a hint to know me better as a person and as designer. Come with me!, this travel is just starting.
Hello!
My name is Leandro Lujan
“�
I believe designers play a key role in our society, we have the power to change and improve the way people see and experience the world.
Candidate for Masters of
Interior Architecture Class of 2020
G3 Project Mercado Havana
Gran Hotel Manzana Kempinksi International Restaurant
Residential Project The Reserve at Marina Palms
Why Study
Design? It started almost by accident. I lived far from Havana and all that I wanted at that moment was to study in the capital. I had some aptitudes but wasn’t sure if I’d like the career. Once that started I fell in love with the profession. I graduated in 2013 as Industrial Designer with focus on Interior Design, where I’ve been practicing since then.
Nice to meet you Now, let me introduce myself
Born in Sancit Spiritus
Cuba
Cultural Background: My grandparents are Spanish Descendants. I grew up with my mom, my sister and my grandmother who lived next to our house. Most of my close family comes from my mother side. I have two other siblings from my Dad side.
moved to
traveled to
live in
To study Design. After my graduation, I stayed there working as Interior Designer
I earned a full scholarship to study a Masters Degree in Design Theory at UANL, Monterrey. After two months I decided to come to the US
I started working as an Interior Designer with the goal of continuing my career in Interiors. Currently, I live with my fiancée.
Havana > Mexico > Miami 2008 2015 since 2015
I speak
Spanish & English
2008 was the beginning of my career as a designer. I liked to sketch since I was a child but didn’t know what design was about until I started University. I became passionate about design since then.
Many factors have affected my path, both as a designer and as a person. I left Cuba because professionals are not valued as they should. My education as Industrial Designer pushed me to solve design problems on a bigger scale that’s why I focused on Interior Design.
Traveled Places where I’ have
Part of our career as designers is to know and experience other cultures and cities. The main reason I travel is on vacation but I always find something inspiring in each travel. Most of the places I’ve visited are inside the US because I wanted to know more about American history and culture. I have a huge list of places that I’d like to go...
Monterrey Puerto Rico Boston New York Washington DC Chicago Tenessee Cancun San Francisco Savannah
Hobbies Play soccer Listening to music Gym/Running Travel Photography
Colors Favorite
Personally, I believe that each color has their own character, and could be used in any medium, depending on the concept or the reaction that we want to cause in the users of the space. Some of my preferred palettes are those that based in monochromatic tones with a subtle pop of colors. Grays, Blues, Nature and “Earthy” colors are my preferred. I’m not a fan of over-saturated environments unless is an open space.
BlueGrayEarthNature
CHAPTER 2
Color + Culture In this chapter we explore the culture of my country: Cuba, and a country of my preference. In this case Mexico is the culture I chose, not only because their rich palette of colors but also because I had the opportunity to live in Mexico for about two months. I was fascinated with their history and traditions. Let’s see...
My Culture
CUBA
The use of color in Cuba is very rich and diverse as the Cuban culture. If we try to compare the use of color with architecture, they both share the same eclectic character due to the vast amount of influences that came from Europe, America, and Africa. If we combine the monochromatic color that identified us from the 17th century, the exuberant palette of the 19h century and the tenuous, almost cold tones of the 20th, to the tropic-popular imagination of the moment in
which we live, the results are a unique and very broad palette of colors with which our society paints its cities, and that is an indelible part of our culture. According to studies realized based in old publications and books, the Havana of 17th to 19th century was decorated with ‘bright colors’ and ornamental elements both interiors and exteriors. Color was one of the first impressions received for those who visited Havana for the first time
In his visit to Cuba in 1858, the American writer Samuel Hazard captured his impressions of Havana in his book Cuba with pen and pencil. “And now we have before us a full view of Havana and its surroundings -The Morro Castle to the left; to the right, the city, with the fort of La Punta (historic, too) on its extreme point- the white, blue, and yellow colored houses, with their red tiled roofs, looking fresh and bright in this breezy January morning� (Hazard, 1871). The colors most used during the colonial period were ocher, in seven shades close to the reddish tones, followed by the blues with nine nuances; the reds with three different shades ; and the greens, fundamentally used in 19th century, in five different shades. The use of color varied according to the economical possibilities and the advantages to obtain new pigments. In the beginning the colors were extracted from nature, but with the arrival of the Spaniards new colors were brought. At some point the pastel tones were replaced with more vivid colors. SPECTRUM OF COLORS USED IN CUBAN ARCHITECTURE
MEXICO A country full of traditions
In the Mexican culture colors play a very prominent role. Mexico is a country of great biodiversity and therefore very colorful (especially the center and south of the country). This richness of color has been reflected in the culture, art, and the worldview of its people. In the Mayan religion, for example, there is a very important association between colors and directions: red is the color of the east, white is the color of the north, black is the color of the west and yellow is the color of the south. The Mayans also endowed the colors with different meanings: yellow was the color of food (corn), black was the color of weapons (obsidian), red was the color of blood, etc. With the Spanish conquest, a process of miscegenation was initiated that incorporated the unifying element of Hispanics into indigenous societies. Mexican art and decoration continued to privilege the warm and old colors, the large and rustic furniture and the colorful and highly saturated paintings and ornaments. The intensely colorful city of Guanajuato, a World Heritage Site, is an example of that taste for vibrant colors and a vibrant and diversified architecture.
Mexican Pink Mexican Pink is an intense fuchsia color identified with the bougainvillea flower, is widely used in traditional Mexican crafts. However, this is not a color that comes from the indigenous traditions, it was created by Ramon Valdiosera, a fashion designer along with a collection that he proposed to the Mexican president in 1946.
The idea was to create a collection that reflected the Mexican identity and promote the image of Mexico as a tourist destination, a country that was entering into modernity. In 1949, during a fashion show in New York, Ramon presented the pink color in his designs. At the time he was asked what was the origin of that color, and he acknowledged that it was part of the Mexican culture. Later, one of the journalists named the color as we know it today.
CHAPTER 3
Color + Theory This chapter resumes the chapter of the book. It has some points that I thought were interesting. All the comments are based in the texts found in the book. I’ve added a color wheel cheat sheet that serves as guide for myself.
What is Color Theory? As stated in the book Color + Design, Color Theory is the study and practice of a set of principles used to understand the relationships among colors. Color Theory has been studied for decades and new ideas and practices are continuously unraveled. The role of color plays in art, design, and other allied professions is important to using colors successfully. Without light there is no color. Color transforms as light is experienced. Three properties of light are commonly experienced in the design of the physical environment: reflection, refraction, and diffraction. The visible spectrum of colored light includes 6 colors, which are commonly seen in when there is a rainbow. Color theorist study and explain the characteristics of color creations, interactions, and arrangements. Many theorist have spent years researching color and providing systems to aid those interesting in expanding their knowledge. The results of this investigations are the typical color wheels that we used as guides in our design process. Some famous models developed during the history are the theories of Newton, Munsell’s color space, and The Color Star by Itten. Nowadays, there are models more sophisticated, which have a commercial value. The case of Pantone Color System is an example of this.
CHAPTER 4
Color + Designers While I was forming as a designer I was very intrigued by the Modern Movement, and The Bauhaus. One thing that I notice was the use of primary colors as an expression of simplicity. Gerrit Rietveld became one of my favorite designers in that time. Nowadays, I’m still amused by his works, specially this one.
Schrรถder House
Gerrit 1888 - 1964
Gerrit Rietveld was a Dutch architect and furniture designer. Rietveld was one of the key elements of De Stijl, a movement centered around the idea to fathom the purity of form and the reality of nature. This “style”, or rather a school of thought, was called Neoplasticism , which aimed to develop a universal language that gradually gave rise to Modernism. One of his most famous works is the “Red and Blue” chair, designed in 1919, which in the beginning didn’t have the striking colors so typical of De Stijl. The colors were applied later in 1923, they are an inspiration from one of the paintings of another member of the “style”: Piet Mondrian. In 1924 he designed the Schröder House, that looked like a three-dimensional Mondrian painting. This building would become the architectural manifesto of De Stijl movement. The colors, divisions, arrangements of surfaces faithfully follow the principles of De Stijl.
The House Designed in 1924 for Truus Schrรถder, is located in Utrecht, The Netherlands. She knew Rietvield from the past and wanted something different, that embraced simplicity and a space that freed rather that constrained her. The house is an embodiment of De Stijl.
Some of the key elements included in the design are the fluid transitions between interior and exterior, with clean horizontal and vertical lines, the use of all primary colors to accentuate planes and lines, alongside gray and black. Both Rietveld and Schrรถder wanted a spacious, simple and functional house. In the design we can
appreciate how Rietveld came with all kind of solutions to achieve this. One of these ideas was the use of sliding walls in the first floor, allowing to have one room during the day and split the space in three during the night, giving privacy for everyone.
The use of colors in the house resembles a painting of Piet Mondrian, as mentioned before De Stijl was very focused in the simplicity of the forms and colors. Large surfaces were painted with the primary colors to highlight or focus functional elements in the house, and contrasted with white and black. In some rooms red is present only in furniture and frames while blue is used in doors, floor, ceiling and other architectural elements. But this is not a rigid rule, other rooms have different color applications.
Red Yellow Blue Black
Grays
CHAPTER 5
Color + Psychology + Perception This chapter resumes the chapter of the book. It has some points that I thought were interesting. All the comments are based in the texts found in the book.
According top our book, color associations and perceptions are highly personal. There is not such a thing as a bad color, only unpleasant color relationships. Color associated with certain object and shapes can produce strong psychological responses. Colors also express code, but as perception, depends on many factors. For example, yellow may not have the same significance or perception in a middle east country and a American country. Color also affect our emotions, and biological systems. Colored surfaces have the ability to increase heart rate, blood pressure, and other qualities. There are three main concepts of color perception: color surrounding the object, size of the color area, and surface characteristics affect color (texture, gloss, reflection properties). There are seven type of contrasts in design projects: • Contrast of hue • Light/Dark contrast • Cool/Warm contrast • Complementary contrast • Simultaneous contrast • Contrast of saturation or intensity • Contrast of extension or the relative quantity or proportion of color.
CHAPTER 6
Color + Film Analyzing color and films was one of the funniest parts of this course. I decided to review Amelie, one of my favorites soundtracks ever. After this chapter, I got to appreciate the use of color.
Amelie The Movie The film, directed by Jean-Pierre Jeunet, is the story of a French girl raised by a cold father and a mother who is at constant stress, she has been suppressed by her parents all her life. Short after the beginning of the film, her mother faces death, leaving Amélie to spend the rest of her childhood living with her father. She grows up with lack of love and comfort. She dreams of the days in which she will get to move out of her father’s home, and have one of herself. Amélie is portrayed as a unique, odd, yet innocent girl, who faces her own isolation through the good deed she offers to the world. As Amélie notices that she takes a great joy in changing the lives of people around her for the better, she spends most of her time doing so. Along her journey, she is exposed to love, which she has never before experienced.
Color Analysis
Amélie has a very specific color palette. It is a very warm film infused with yellows, reds and greens. The color blue is only prominent in only a few shots; so few in fact you can probably count them on one hand. Amélie is also a very well lit film. There are virtually no scenes with complete darkness. It looks as though the whole movie is portrayed through a singular filter. The color scheme used
in the movie helps us understand the emotions that are felt by the main character Amélie Poulain. What this does create a very intriguing world for the viewer, almost as if it were “unreal” or a fairytale.
Scene Analysis At the beginning of the movie, we are introduced to the setting, the location for the very first time when the streets of Paris are presented through a luminous yellow tone, which plays the role of sunlight in a very unnatural manner. This baffling tone of yellow is not limited to the opening scene. As a matter of fact, it becomes a commonly used color. The bright warm color yellow is used to represent liveliness, happiness, joy, and excitement. Throughout AmĂŠlie, this element does not cease to exist. This is because the whole storyline is based on the thrilling expedition AmĂŠlie is having, as she searches for finding who she is. The color yellow is mainly used in representing the city through a surreal lens, which AmĂŠlie withholds.
One of the first times in which the audience is exposed to red is when young Amélie is eating raspberries; the fruit itself is known to be vigorously passionate, it could have been any other fruit, but instead the importance of the color red is revealed through great attention to great detail. Throughout Amélie, life has not shown its affection to her, therefore she is in constant search for love, which she does find towards the end of the movie.
The color red is used continuously; this can represent love and passion. Amelie’s whole apartment has one major use of color, and again it is red, it is as though the film lies out and presents Amelie’s feelings not only through dialect and actions but also through the use of colors.
Scene Analysis Another prominent color used is Green, which imply a sense of peace and tranquility, which becomes relieving to the viewers eyes. As green is commonly associated with nature and life, especially so in the film, this adds the to the tone of liveliness. Considering red and green are contrasting colors, this truly brings full focus to Amelie throughout the film. Red and green, historically, are commonly related with festivities (especially Christmas), and for this reason the sense of this warm somewhat fairytale setting, is amplified. During the history AmĂŠlie constantly either wears something containing the color green or red. The aspect of love, passion contrasted with the purity, peace, and calmness within her.
As mentioned before blue is used to refocus viewer’s attention to an important element of the scene. In this case, blue is used to represent new things happening in Amelie’s life, like the scene when she met Nino in the photo-both. This is technique of using discordant colors is commonly used in movies, a deviation from the film’s color scheme.
CHAPTER 7
Color + Balance This chapter resumes the chapter of the book. It has some points that I thought were interesting. All the comments are based in the texts found in the book.
What is Balance? Balance refers to the relationship of different hues to one another when each is perceived to be equal in perceived visual height. When speaking of balance and design, we must first make a distinction between physical balance and perceived or visual balance. Physical balance is the optimal measure of gravitational forces that keeps you from falling. Perceptual balance involves the object and the visual weight of the color. The amount of color, the number of colors, the visual weight of the colors, and the location of the color within the space are the four key factors in establishing good color balance.
Types of color balance There are four main types of color balance: • Value contrast (Light/Dark) • Hue Balance (Complements) • Intensity Contrast (Bright/Dull) • Size of Color Area (Large/Small)
CHAPTER 8
Color + Retail In this chapter we are going to look at the relationship of color and emphasis through the analysis of a retail interior. The space chosen is the Studio Xfinity, in Washington DC, a project designed by Gensler. This is a multi-awarded project that proposes a new lens to experience retail, using bold colors and technology.
01
Constrast of Hue As mentioned in our book “for contrast of hue, select colors that are opposite one another on the color wheel. Using color at full intensity is a very striking method for forming interesting focal points� (Reed, 2010) In this example we ca see a strong contrast where hue is not the only element used to separate two different areas in the store. However, one could see how the pure blue contrast with the red/orange tones of the brick and wood in the back. The floor mimics the same tonality to be away of the blue. Finally we can see that the black on the ceiling helps to unify both spaces.
02
Contrast of Value
“Value contrast is probably the easiest of the contrast types. A light/dark contrast of black, gray, or white values can emphasize without the use of chromatic (colored) hues” (Reed, 2010) In this two examples, we can appreciate the use of black/white to contrast with the tone of the wood, generating an interesting and warmth feeling that may be perceived as “industrial” or “handcrafted” if you will.
03
Contrast of a Design Feature This store has a particular ambiance with an open plan that uses contrast to separate functional areas. The Cafe/Bar in the center of the space is highlighted with the use of contrast of values between the with marble and the wood. But this contrast is not so evident as the contrast of design feature. We can see how the lighting and the shape of the bar are connected and indicates a change of functional area. In the end both rectangular shapes form an enclosure that separate this area from the open space.
04 Constrast of Texture
Probably the best example of contrast of texture is the one shown in exhibit 01, that shows how the plain blue contrast with the textured brick. My preference in this case plays with the same hue, and different textures in the same space. As we can see, this lounge uses the same blue in different materials, with different textures of course, which makes the space even more interesting. The contrast in the booths are the most noticeable because we encounter texture patterns next to plain surfaces.
05 Focal Point
One of the many focal points that this store has is the digital portal located at the entrance. The use of screens in the ceiling, columns, and walls to create a portal is an interesting strategy to attract clients, and to indicate the type of products that are being sold here: Digital Products. This also allows to create more dynamic messages to play with the perception of the storefront. As you walk into the store a radial element is shown in the ceiling indicating a change of stage from the street to the interior.
CHAPTER 9
Color + Hospitality Analyzing the unity and variety as properties for interiors was the main objective behind this exercise. But, as usual, this became the perfect excuse to get to know one of the most iconic developments in Miami.
The intention of the use of color and textures in the lobby is to create a calm and peaceful atmosphere. Overall the palette is muted in colors, but with heavy use of texture and plays of light and shadows. The combination of textured materials, earthy tones in the ceiling and furniture, and accent lighting, all layered with sculptural pieces and curated art on every floor makes this concept a visual gift to all. The use of the metal tubes sculptural screen provides a virtual separation between the main lobby circulation areas and the lobby bar. As mentioned before the protagonist here is the textured walls that are highlighted by the use of lighting. Accents are provided by the use of brown colors and richness of materials in the furniture. Whimsical and colorful art pieces are located next to the reception to start giving the user a glimpse of the overall design: Calm, serious, sophisticated but with a sense of art and humor, just as Miami
The virtual separation between the bar and the main lobby area, is an artistic piece that holds more than one function: besides defining spaces without dividing them is also an inverted fountain where the water drips peacefully into a tranquil pool.
is possible thanks to the ingenious system of panels in teak with glass inserts that slide to cover the espresso machines and reveal liquor bottles. Intriguingly, the simple gesture of moving the panels also changes the color scheme from daytime turquoise to twilight amber.
That same approach was used on the bar, that serves coffee by the day and then at nights transforms into a cocktail lounge. This
As we can see in this space the color and textures, and lighting treatments remains the same but with more accents in the furniture.
In the second floor we can find the restaurant Quinto la Huella, an homage to Mexican cuisine. The color use remains as neutral but with more pop of natural colors, especially in the outdoor area where the greenery contrast with the warm tones of the wood. Fabrics and upholstery starts incorporating more color and texture inspired in Mexico. Towards the pool, the turquoise and orange brings the color to the overall palette that overall keeps the warm essence.
The outdoor bar and garden in the hotel’s 40th floor is perhaps the most interesting combination of textures, colors, and patterns. A variety of different furniture and contrast between wood and stone makes this place special. In here the pops of color are more diverse, and we can see black, grays mixing with the purple of the accent pillows. The bar is all carved in wood with a rustic feeling that at nights is highlighted with light making this space even more interesting and cozy.
The rooms maintain the color palette used throughout the building but it starts to include lighter tones of wood not so saturated to contrast with the existing tones. Grays and off whites are the main colors used in the walls. Drapery and upholstery is also neutral. The pops of colors are brought in the upholstery and the artworks. Tones of aqua and turquoise are used to bring that “Miami� feeling. Orange is also used but less prominent. The rest of the colors can be seen through the view that offers each of the room. Some of them look into the city landscape or to the pool that is infused with blues and oranges.
CHAPTER 10
Color + Workplace Using Variety as a filter, we analyze a workplace of preference. I used Zimmerman as case study. This project was designed by Gensler and it has a holistic approach to interior design, where architecture and interiors are supported by Environmental Graphics and Brand.
“
Variety Variety is the principle of design that is concerned with the combination of on or more color elements with shape, form, pattern, and texture to creat diversity in an interior space.
�
Headquartered in Fort Lauderdale, Zimmerman Advertising is the largest agency in the southeastern United States. Gensler was the company in charge of the interior design, the environmental graphics, and wayfinding. In this project, the concept of color is related with Zimmerman’s main focus: Advertising. Hence, the use of bold graphics and vibrant colors throughout the building. Architectural features and focal points are used to highlight functional areas such as the monumental stair in the lobby and the different “living rooms” that are thought as less formal collaborative areas. Red is the “main” color used as connector in the building, and responds directly to the brand’s corporate language. Main color palette
Color accents
As you enter to the space you can see that the 5 story atrium is activated by the used of colored lighting in the elevator lobbies. Linear patterns are used to invite the user to come inside
Is commonly known that the first impression is the one that lasts, and in the elevator lobby the designers incorporated a playful use of LED lighting that helps to generate different moods and create dynamism in this space. The use of linear patterns that generate a virtual envelope that helps the continuity of the lighting in walls and ceiling. White light in a linear pattern is used to contrast colors and support the wayfinding.
The monumental stair is wrapped in a red linear pattern that helps o catch the attention of the user and brings them into the upper/lower level depends of the location.
this bright element at the end of the space that invites you to explore beyond. The use of lines conveys direction and movement towards the stair.
This linear pattern is used in several parts of the building, starting from the elevator and then used as continuity in the reception.
In this space the use of materials is kept neutral, only using whites and grays and leaving the red as pop of color to identify functional areas: The logo in the reception, the furniture, and the stair at the end.
When you step out of the elevator, we can see
Typography and color are mixed to generate a pattern along the corridors that spells Zimmerman along three corridors that also showcase the company’s work in a set of frames arranged at the end of the pattern.
Textures with circular motives are used throughout, supporting the brand’s identity. This motive is used as shapes in the glass graphics or as texture in the cafe, as we can see in the images.
One of the most interesting plays with shapes, happens at the collaboration areas where there is a solid element that subdivide two of them and creates a builtin bench. As we can see this element represents the “Z� of Zimmerman and its shape is also represented in the ceiling as a mirrored image. The color red is also used to accentuate this piece
All About Color
Color Theory And Application For The Built Environment Leandro Lujan Milian FLORIDA INTERNATIONAL UNIVERSITY PROF. DARCI PAPPANO SPRING 2019