Color Theory Final Book - Ligia Filgueiras

COLOR THEORY

LIGIA FILGUEIRAS

TABLE OF CONTENTS

M.1 M.2 M.3 M.4 M.5 M.6 M.7 M.8 M.9 M.10

COLOR + ME COLOR + CULTURE COLOR + THEORY COLOR + DESIGNERS COLOR + PERCEPTION + BEHAVIORAL RESPONSE COLOR + FILM COLOR + RHYTHM + BALANCE COLOR + EMPHASIS + RETAIL COLOR + HOSPITALITY COLOR + WORKPLACE

MODULE 1

COLOR +

ME

Hi there, I’m Ligia. I am currently a fourth-year Architecture student. So far, my journey in this major has been really exciting. Throughout the past years, I have been exposed to a lot of knowledge regarding this discipline and much more. Architecture encompasses graphics, theoretical thinking, fabrication techniques, and most importantly, a concern about creating spaces for others. I am thankful for all I have learned so far, and in this module we will cover other aspects that make me who I am today.

ETHNICITY

I grew up in Sao Paulo, Brazil, with my mom. My father lived in Miami, so we would visit him every year and go to Disney.

My childhood is comprised of a lot of moments with Mickey Mouse and roller coasters. When I was fourteen years old, the economy in Brazil worsened significantly, and my parents figured it would be best for me to move to the United States.

I started high school in Miami midway through sophomore year, graduating at seventeen. Transitioning from a very small school in Brazil to a huge one in the United States, while experiencing the differences in culture and language was initially hard. However, with time, I learned a lot of lessons from this experience and eventually adapted to the local culture, while always keeping in mind my own background.

MORE INFORMATION In college, I have always been as involved as possible.

I pledged for Alpha Rho Chi in my first semester of Architecture, where I have held two E-Board positions, and have been Professionalism chair. Additionally, I have volunteered for several PCA events, including a few projects with the Robotics lab. Today, I am working as a Graduate Research Fellow for the CREST Institude at FIU, using data visualization techniques to vhelp translate scientific data to the public.

TRAVEL

My absolutely favorite thing to do is traveling.

I feel like I grow a lot from witnessing the architecture and culture of different places, and I love being able to photograph these experiences. I believe a picture can indeed tell a thousand words, so collecting photographs helps me remember each moment better.

Two of my favorite things to do in my free time, besides working out and cooking, are taking and editing pictures and drawing portraits. My passion for art was one of the main reasons that led me to pursue Architecture as a major.

COLOR

IN FASHION

I am extremely influenced by the uses and combinations of colors in fashion.

Learning about fashion trends and improving my style are always things that I strive for.

IN PROJECTS

I often try to utilize a cohesive color palette in my studio projects throughout a project. In the past semester, I printed my final physical model corresponding colors of the diagrammatic drawings to emphasize its color scheme.

MODULE 2

COLOR +

CULTURE

I am from Brazil. The country is known for its beautiful natural resources, charismatic people and unique food. My country is a huge part of who I am. Additionally, a country I am interested in learning about is Italy. What captivates me about this country is its architecture, culinary and history. In this module, we look at the use of color in both countries and its relationship to their culture.

BRAZIL

A few defining characteristics of Brazilian culture include Carnival, the love for soccer, the weekly farmer’s markets known as “feiras� and the kindness to others.

Some of the most popular colors in the country can be found within the brazilian flag. The colors represent the story of the country.

The green represents the country’s vast fauna and flora. A large portion of the country is occupied by the Amazon Rainforest.

The yellow represents gold mining, which was very important in the history and development of the country.

The blue represents the night skies, another remark of the importance of nature in the country.

Red and other bright colors can be often seen in the streets and festivals, especially during Carnival.

ITALIA

Italy is extremely well known for its architecture and art work . The most popular type of dance in the country is Tarantella. Being the birthplace of pizza as we know it, Italian pizza is also known to be exceptional.

Red is often used when dancing during New Years. The color is also used in the flag of Milan.

Green represents hope, as well as the country’s rich landscape.

Sienna is a color very particular to Italy, being popular during the Renaissance in artwork and architecture.

Tones of brown can be often seen in the country’s architectural masterpieces and paintings.

Light beige is the color of many italian houses, representing faith and simplicity.

REFERENCES https://study.com/academy/lesson/brazilian-flag-meaning-lesson-for-kids.html https://www.lifeinitaly.com/culture/traditional-dances-in-italy-2 https://en.wikipedia.org/wiki/History_of_pizza https://en.wikipedia.org/wiki/Sienna Ron Reed, Color + Design.

First to recognize human psychological and biological esponses to color.

Faber Birren

Developed twelve-pointed color star.

Johannes Itten

Developed three dimensions of color: hue, value & chroma.

Albert H. Munsell

This week’s module explains how color is made possible through wavelenghts created by light. Additionally, it touches upon interactions between light and surface, natural and artifical light, and forms of light reflection. It explains theories of color, as well as relationships between colors within the color wheel. It was extremely helpful to understand such relationships to determine which colors to use when creating compositions.

Visible spectrum: colored light consisting of Additive color: colors with light series of wavelenghts visiblemixing to humans.

Subtractive color: mixing color with pigments, such as paint, dyes, colorants and inks.

Developed first color wheel, discovered refracted colors.

Additive color: mixing colors with light Subtractive color: mixing color with pigments, such as paint, dyes, colorants and inks.

Faber Firstcolor to recognize Developed first Birren human wheel, discovered psychological and biological refracted colors. esponses to color.

Developed three dimensions of color: hue, value & chroma.

Visible spectrum: colored light consisting of series of wavelenghts visible to humans.

es

This week’s module explains how color is made possible through wavelenghts created by light. Additionally, it touches upon interactions between light and surface, natural and artifical light, and forms of light reflection. It explains theories of color, as well as relationships between colors within the color wheel. It was extremely helpful to understand such relationships to determine which colors to use when creating compositions.

H.

Johannes Developed Additive color: mixing colorscolor with light Itten twelve-pointed Subtractive color: mixing color with pigments, star. such as paint, dyes, colorants and inks.

Developed

Isaac Newton

This week’s module explains how color is Isaac Developed first color made possible through wavelenghts Newton wheel, discovered created by light.

Additionally, refracted colors. it touches upon interactions between light and surface, natural and artifical light, and forms of light reflection. It explains theories Albert H. as well Developed three between of color, as relationships Munsell dimensions of color: colors within the color wheel.

It was hue, value & chroma. extremely helpful to understand such relationships to determine which colors to use when creating compositions.

MODULE 3

COLOR +THEORY This week’s module explains how color is made possible through wavelenghts created by light. Additionally, it touches upon interactions between light and surface, natural and artifical light, and forms of light reflection. It explains theories of color, as well as relationships between colors within the color wheel. It was extremely helpful to understand such relationships to determine which colors to use when creating compositions.

MODULE 4

COLOR +DESIGNERS In interior architecture, there is a heavy focus on the user experience within a space. Understanding how to place color spatially can evoke certain emotions to the user and enhance the meaning of a project. In this module, we look at Gerrit Rietveld’s “Rietveld Schroder House” and analyze the relationship between colors wih each other, color placement and the incorporation of planes in architecture.

GERRIT RIETVELD Rietveld is famous for his Red and Blue Chair and his Rietveld Schrรถder House.

Before being an architect, he was a professional in furniture design, and taught himself drawing, painting and model making.

In 1918, when opening his furniture factory, he became extremely interested in the De Stijl art movement, which was pioneered by abstract artists, such as Piet Mondrian and Theo van Doesburg.

The influence of this movement is present in both his furniture and architectural works.

RIETVELD SCHRODER HOUSE

This project’s main emphasis was on the interaction of planes and primary colors, as demosntrated in the diagrams and interior/exterior photographs.

DE STIJL ART MOVEMENT was characterized by a rigid geometry of horizontal and vertical lines using primary colors (red, yellow and blue), as well as black and white. As pioneer of the movement, Mondrian describes, the works of De Stijl should find �expression in the abstraction of form and colour.�

The interior and exterior of this house are characterized by an emphasis on intersecting planes and primary colors, accentuating the idea of purity highlighted in the movement. There is no hierarchy in its plan, since it is composed of collapsible walls, allowing a transformational quality to the space. Every detail of the house follows the mentality of the De Stijl movement, including its furniture and additional appliances.

PRIMARY COLOURS = PURE IDEAS

REFERENCES https://www.rietveldschroderhuis.nl/en/rietveld-schroder-house https://www.dezeen.com/2018/08/29/stijn-poelstra-photographs-mondrianrietveld-schroder-house-architecture/ https://www.youtube.com/watch?v=qLHCYeswxuI https://www.archdaily.com/99698/ad-classics-rietveld-schroder-house-gerritrietveld?ad_medium=gallery https://en.wikipedia.org/wiki/Gerrit_Rietveld

contrast relationships. It explains how colors can be used to heal people (chromotherapy) and how to create spaces considering old age and decreased vision. Finally, it covers the history of color through the decades. It was helpful to understand the associations of color and human responses to better design both interior and exterior spaces.

Johannes Itten Theories:

Seven types of color contrast.

Color + shape associations.

Color palettes per decade.

MODULE 5

COLOR +PERCEPTION + BEHAVIORAL RESPONSE This week’s module explains how the perception of interior spaces can be reinforced through the combination of colors and forms that complement each other. Additionally, it touches upon color responses and associations, as well as contrast relationships. It explains how colors can be used to heal people (chromotherapy) and how to create spaces that consider old age and decrease vision. Finally, it covers the history of color through the decades.

MODULE 6

COLOR +FILM Understanding color relationships is crucial in cinematography. The use of specific color schemes can lead to associations regarding a character’s intentions, mood and additional traits. The use of a cohesive color palette can accentuate the meaning of a story, reinforcing its narrative. In this module, we look at Wes Anderson’s “Grand Budapest Hotel” and how his use of color schemes generate specific responses in the audience seeing the films.

GRAND BUDAPEST HOTEL

The film is centered upon the story of Monsieur Gustave H. and his lobby boy, Zero.

After an important client of the hotel dies, her family assumes Monsier Gustave is to blame. The plot sets out to prove his innocence, while they run from the family and police. Eventually, a second will is found stating the client left everything to Gustave.

Zero narrates the story years later, after he becomes the owner of the hotel, to an author who publishes a book about their adventures.

1980S

1960S

1930S

1930S

COLOR = TIME

Wes divided the color schemes of the movie according to their respective time periods, aditionally changing screen sizes depending on the decade.

COLOR + CHARACTERS

PROTAGONISTS Wes also determines character through color: protagonists wear purple (bravery, royalty), pink (sweet, delicate), and light blue (gentle, reflective).

ANTAGONISTS Meanwhile, antagonists are seen in dark and morbid colors, such as black (death, emptiness), brown (self-centeredness, gloom) and grey (depression, lack of self confidence).

COLOR SCHEMES

Throughout the film, the use of analogous color schemes helps to enphasize character associations, as well as enhance the perception of their corresponding atmosphere.

REFERENCES https://www.8hours.com/essay/the-color-palette-of-the-grand-budapest-hotel https://movietime.guru/the-grand-budapest-hotel-a-dissection-of-colour-style60203b3eab13 https://postperspective.com/enhancing-color-grand-budapest-hotel/ https://www.studiodaily.com/2014/03/inhabiting-wes-andersons-world-of-colorin-the-grand-budapest-hotel/

of balance (symmetric, asymmetric and radial), as well as contrasting color relationships. Finally, it touches upon color overloads, and how they can make a place look too monotonous or unbalenced.

Understanding color balance is essential to determine how to combine colors within a space so that they are not overwhelming.

Value Contrast (Light/Dark)

Hue Balance (Complements)

Intensity Contrast (Bright/Dull)

Size of Color Area (Large/Small)

Color Overload

MODULE 7

COLOR +

BALANCE

This week’s module explains how the perception of interior spaces can be reinforced through the combination of colors and forms that complement each other. Additionally, it touches upon color responses and associations. It covers types of balance (symmetric, asymmetric and radial), as well as contrasting color relationships. Finally, it touches upon color overloads, and how they can make a place look too monotonous or unbalenced.

Understanding color balance is essential to determine how to combine colors within a space so that they are not overwhelming

how to avoid visual clutter. Finally, it explains how the use of rhythm can highlight architectural elements and orient the user within a space. Understanding rhythm can allow the designer to generate better placement of color along the space, contiously evoking certain feelings and perceptions to the user.

Repetition

Alternation

Progression

Continuation

Radiation

MODULE 7 (PART 2)

COLOR +

RHYTHM

This week’s module explains how rhythm and color can create different visual effects, through the use of techniques such as repetition, alternation, progression, continuation and radiation. Additionally, it touches upon how an interior space can be improved through rhythmic order, and how to avoid visual clutter. Finally, it explains how the use of rhythm can highlight architectural elements and orient the user within a space. Understanding rhythm can allow the designer to generate better placement of color along the space, contiously evoking certain feelings and perceptions to the user.

MODULE 8

COLOR +EMPHASIS The strategized use of constrasting hues, textures, design features and value can enhance the user experience within an interior space. These strategies can help guiding movement and calling the user’s attention to specific areas of a space. In this Module, we look at Gwenael Nicolas’ Dolce & Gabanna store in Tokyo, and how the implemented these strategies to create an elegant and modern store.

DOLCE & GABANNA, TOKYO A store moved by an elegant contrast between light and dark, playing with relationship between spatial elements and facilitating circulation through its composition.

Designed by Gwenael Nicolas, the concept was translating the world of online retail into physical space. Lighting is controlled by computational system that randomly highlights different display areas.

CONTRAST OF HUE Contrast of hue can be achieved by contrasting two opposite colors in the color wheel. In this project, there is a dramatic contrast between matte-black and bright gold. The relationship between the colors forms a captivating focal point that captures the user’s attention.

CONTRAST OF DESIGN FEATURE Contrast of design feature through shapes and forms can help guiding the user within the space. Here, linear objects help define the path towards the focal point. Both vertical and horizontal shadows accentuate the path leading to the golden core of the building.

CONTRAST OF VALUE Contrast of value can be achieved by contrasting bright and dark colors. This is the main factor in this project. The use of extremely bright lights targetting certain elements of the exterior and interior help create a hierarchy within the space, as well as emphasize certain elements of the interior.

FOCAL POINT The focal point would be the single design element that has the greatest visual emphasis in the room. Evidently, in this store, this element would be the golden core. It can be seen from multiple areas of the space, guiding the user around the store and creating symmetry and balance. Additionally, this focal point directs the user to the second level of the store.

CONTRAST OF TEXTURE Constrating textures can help add emphasis to certain objects. In this case, texture allows the jewelry displays stand out from the golden wall. This accentuates the dramatic effect created in the rest of the store and emphasizes the value of specific objects.

REFERENCES https://www.contractdesign.com/projects/retail/dolce-gabbana-tokyo/ https://www.dezeen.com/2016/09/23/dolce-gabbana-aoyama-store-gwenaelnicolas-curiosity-tokyo-japan/ https://www.arc-magazine.com/dolce-gabbana-japan/

MODULE 9

COLOR +HOSPITALITY The relationship between shapes, forms, patterns and textures can make unique interior spaces. It is specially important to know how to combine them to accentuate specific properties of each element. In this chapter, we will look at Faena Hotel in Miami Beach, and see the visual implications of these combinations, and how they impact the user experience within the hotel.

FAENA HOTEL, MIAMI BEACH The Faena Hotel is part of the Faena District in Miami Beach, a cultural neighborhood spanning from Collins Ave 32nd to 36th Street. This area is famous for its luxurius hotels and residences, as well as several entertainment and shopping facilities.

Originally known as the Saxony Hotel, the first luxurious hotel in Miami Beach.

For the renovation, a producer/ director and a costume designer were hired to overlook the interiors. This particular choice led to an eccentric yet glamourous interior space, with many textures, velvelt patterns and gold accentuating the idea of luxury.

COLOR PALETTE The rooms are composed of complementary colors (light blue and red tones), as well as neutral tones. The red can be associated with excitement, passion and love, while the blue resembles the water, generating a cool, comfortable and relaxing atmosphere.

Meanwhile, the dining area is composed of analogous colors, gold and red tones.

The gold accentuates luxury, wealth and illumination, while red continues to evoke feelings of excitement, passion and even power.

ARCHITECTURAL DETAILS The contrast between the spatial elements (points, planes, and surfaces), accentuate the horizontal and vertical properties of the shapes within the space. This helps defining the rooms better, as well as establishing a sense of scale.

VISUAL WEIGHT The focal point of the hotel entrance, or the single design element that has the greatest visual emphasis, would be the entry path with golden columns. They draw the attention of the user, accentuating the path leading inside.

SHAPES The shapes within the space help draw the user’s attention to important areas. In this hotel, they utilize large eccentric chandeliers to call attention to specific areas, inviting the users to these spaces. The shapes also create balance and establish symmetry within the rooms, creating a hierarchy within the interior space.

TEXTURES

The use of textures creates visual interest in the space.

The patterns used and their materiality enhance the user experience within the hotel. The textures allow for sensory and visual experiences that would have not been possible otherwise.

REFERENCES https://www.faena.com/miami-beach/

https://www.wallpaper.com/travel/a-new-hotel-is-making-waves-in-the-miamisfaena-district https://www.architecturaldigest.com/gallery/art-deco-hotels-miami https://www.google.com/travel/hotels/Faena%20House/entity/ CgoIvKu_1a7uzOc2EAE/ https://www.faena.com/miami-beach/faena-district/ https://www.wallpaper.com/travel/a-new-hotel-is-making-waves-in-the-miamisfaena-district

tilizing a grid is a good approach to establishing reasoning and cohesiveness behind color proportions. A few mathematical relationships that can be used for applying color in proportional amounts include the golden section, Fibonacci Sequence and Le Modulor.

The Golden Section

Fibonacci Sequence

Le Modulor

MODULE 9

REFLECTION

COLOR + PROPORTION + SCALE When designing interior spaces, it is important to consider proportions of color in the context of the scale of the space These proportions will determine the space’s physical and visual perception, evoking specific responses in the user.

Aditionally, utilizing a grid is a good approach to establishing reasoning and cohesiveness behind color proportions. A few mathematical relationships that can be used for applying color in proportional amounts include the golden section, Fibonacci Sequence and Le Modulor.

harmony include harmony of scale, hues,

dominant COLOR colored + light, constrast of scale, REFLECTION: UNITY + HARMONY contrast of hues and contrast of colors.

Another important factor to consider would Understanding these strategies is important be to thecreate harmony between colors, as their a a visually cohesive, yet relationship create a unified palette engagingcan design.

Additionally, within the interior.

The six elements of color understanding the relationship between harmony harmony ofharmonious scale, hues, colors isinclude essential to create color palettes forlight, interior spaces. of scale, dominant colored constrast contrast of hues and contrast of colors.

Understanding these strategies is important Monochromatic to create a a visually cohesive, yet engaging design. Additionally, understanding the relationship between colors is essential to create harmonious color palettes for interior spaces.

Complementary Monochromatic

Split Complementary

Complementary Tetradic

Split Complementary Analogous

Tetradic

Analogous

MODULE 9

REFLECTION

COLOR + UNITY + HARMONY Another important factor to consider would be the harmony between colors, as their relationship can create a unified palette within the interior. The six elements of color harmony include harmony of scale, hues, dominant colored light, constrast of scale, contrast of hues and contrast of colors. Understanding these strategies is important to create a a visually cohesive, yet engaging design.

Additionally, understanding the relationship between colors is essential to create harmonious color palettes for interior spaces.

MODULE 10

COLOR +WORKPLACE The use of color can help create movement within a space, define circulation and program and generate visual interest. Since offices are places where employees spend most of their time, it is important to make them visually and physically interesting. The strategized use of a specific color palette, archtiectural details and shapes can create a successful office area. In this module, we look at Design Blitz’s “One Workplace” and analyze how they use these strategies to create cohesive interior spaces.

ONE WORKPLACE, SANTA CLARA The One Workplace by Design Blitz is a workplace for the largest furniture distributors in Northern California.

Therefore, the architect wanted to re-define the idea of what a workplace should be like by creating a new showroom experience, serving employees and costumers equally.

The office is also site specific, translating an industrial language in terms of materiality and form to celebrate the history of the site.

COLOR PALETTE The rooms are composed of earth tones, as well as complementary colors (purple and green). The purple can be associated with royalty, bravery and generates a soft atmosphere, while the green creates a relaxed environment, suggesting freshness and growth.

The earth tones can help generate an environment that looks contemporary, inviting and even friendly. Additionally, the contrast with large white walls and ceilings enhances its scale by making the space seem larger than it actually is.

ARCHITECTURAL DETAILS The intersection between spatial elements accentuate the horizontal and vertical properties of the walls and planes. The workplace has an open plan, suggesting a free flow between working areas.

Additionaly, details like the perforation of walls or their rotation add a layer of visual interest and complexity to the spaces.

VISUAL WEIGHT The focal point of the workplace, or the design element with greatest visual emphasis, would be the elevated conference room ,which can be viewed from almost any point in the office. This large sculptural element helps defining the circulation throughout the office, guiding the movement of the clients and workers around the space. The interior circulation is defined by carefully planned mapped experiences that mimic the shape of the main room by suggesting a boomerang-like movement.

SHAPES The main shape within the workplace, the boomerang-like conference room, creates specific framed views along the office, suggesting movement and creating visual interest. The shape accentuates the flow of movement and creates a hierarchy between first and second floors, allowing people above to observe the entire space.

TEXTURES

The use of multiple textures help creating a aesthetically pleasing modern space. The patterns used change the atmosphere of the rooms, by allowing light in and guiding users towards specific areas. The use of light and shadows additionally creates another level of intricacy to the interior areas.

REFERENCES https://www.archdaily.com/407806/one-workplace-design-blitz?ad_ https://studioblitz.com/work/one-workplace/ https://archello.com/project/one-workplace-headquarters

CONCLUSION Color theory was a very enriching class.

Beyond simply understanding relationships between colors and shapes, it taught me how they are implemented in different forms of mediums. Whether it was in architecture, culture, cinematography, or more, the use of color can completely change the way something is perceived. Understanding how to strategically place colors does not only make me a better designer, but helps me appreciate a lot more of what I see in the world.