FINAL
COLOR THEORY IND 5325 MARTHA SALAZAR SUMMER 2017
Table of Contents
Table of Contents You + Color Theory + Color Designers + Color Film + Color Balance + Color Healthcare + Color Rhythm + Color
02 04 08 10 16 22 24 27
29 39 43 45 51 57 63 64
Retail + Color Proportion, scale, unity, harmony + Color Photography + Color Hospitality + Color Rendering + Color Culture + Color Conclusion References
YOU + COLOR
M.0
Objec�ves: Describe your personal color preferences, degrees and affilia�on and personal informa�on that describe you. Outcomes: This assignment allows us to be crea�ve while we introduce ourselves and give some feedback as to our background.
HELLO!
Hello! My name is Martha Salazar. I was born in Nicaragua. I am a licensed architect graduated in Nicaragua. A�er I got married we passed four long years on a distant rela�onship un�l my residence came up. I move to Miami in 2012. I realize I wanted to con�nue working in my field, that’s why I applied at FIU to study a Master related to Architecture. Since I was a kid a love everything about art, details and architecture.
Introduction
A profound design process eventually makes the patron, and every occasional visitor in the building a slightly better human being. -Juhani Pallasmaa
Background
My cultural ties are form Nicaragua, which is a country with Spanish architecture inuence. My family composition is my husband and I. However, coming from a Hispanic family, we are brought up with the extended family tradition which encompasses our cousins, uncles, nieces, nephews, etc. My spouse’s family lives here, and mine is in Nicaragua.
Likes I love traveling and exploring old cities and places. Although I haven’t traveled a lot, because I always prioritize traveling to Nicaragua once a year to visit the rest of my family. I have traveled to Mexico, , Costa Rica and Panama. I have passion of visiting old churches, and look their details and History in between. My hobbies are biking, cooking, painting, kayaking and drawing. My favorite color is .I apply this color in objects or any accessories. I prefer to wear dark, white, blue and red (accents). My renders look more like earth tones, I think those color make people feel comfortable and relaxing.
hobbies
THEORY + COLOR
M.1
Objectives: Recognize the diversity of color principles theories, and systems. Comprehend how the human eyes perceives color. And understand the basics of color schemes. Outcomes: We learned about a variety of color systems which are available and serve as a tool when working with color. This chapter is also helpful in understanding the basic concepts of Color Theory.
Color theory is the study and practice of a set of principals used to understand the relationships among colors. A certain amount of knowledge in the scientiďŹ c aspects of colors is necessary, however, from a design perspective; we are engaged in the human interface involving the way people respond to color. Whether in our homes, oďŹƒces, schools, or businesses, color transforms our surroundings.
Complementary Analogous color colors result from schemes result two colors opposite from two or more one another in the color adjacent to color wheel. one another on the color wheel.
A split complementary is composed of three colors consisting of one main hue plus two hues each adjacent to is complement.
Hue, value, and Chroma are the three dimensional colors. Adding any amount of white to a color produces a tint. Adding gray to a color produces a tone. Adding black to a color results in a shade. A pure hue is a color void of any white, gray, or black and its highest intensity or brightness. Additive color theory applies to combining the three primaries of pigment (red, blue, and yellow). Subtractive color theory applies to combining the three primaries of light (red, blue, and green).
DESIGNER + COLOR
M.2
Objectives: Understand the relationship between design concept and the use of color. Present an analysis of a designer and a project. Outcomes: My designer of choice was Mexican architect Luis Barragan, and how he applied color in his architectural designs. It is my opinion, that Barragan primary challenge was in balancing the complex roles that bold colors play to create an attractive and eective design.
Luis Barragan
Architecture is as art when one consciously or unconsciously creates aesthe�c emo�on in the atmosphere and when this environment produces well being. Luis Barragán was born in Guadalajara, Mexico in 1902. He completed his studies in engineering and later became a self-taught architect. Barragan architectural skills were shaped as a result of his travels around Europe. The most important formative influence were European modernism, very particular form Mies and Le Corbusier, with the colors inspiration from North African, Moroccan, Mediterranean architecture, and the sunny gardens of Ferdinand Bac. He was also influenced by multiple artist, such as Jesus Reyes Ferreira, Gerardo Murillo, Raul Ferrera, Justino Fernandez and many more.
1902
He was born on March 9th in Guadalajara, Mexico.
1923
He received his engineering diploma but con�nued to study towards an architecture degree.
Barragán enrolled at the Escuela Libre de Ingenieros in Guadalajara.
1919
Timeline
1979
Luis Barragán and Raul Ferrera opened their own architectural firm of Barragan and Ferrera Asociados.
A�er gradua�ng, he traveled extensively through Europe.
1925
1988
On November 22nd, Luis Barragán died in his home on Calle Francisco Ramirez in Mexico City.
Barragán was awarded the Pritzker Prize for Architecture.
1980
Barragán began to conceive new methods by which he could create what he called an “emotional architecture,” one that would encourage meditation and quietude. His works began to take on the elements which characterize his mature period—pure planes (slabs of concrete, immense walls of stucco, adobe, timber), water features, the use of vibrant color, adherence to a regional Mexican traditions, all interacting with Nature.
Barragán House + Studio Luis Barragan house is currently located in the suburbs of Mexico City. It was started in 1947, where he lived and worked in this three floor house until his death. The house was declared a UNESCO Word Heritage Site in 2004. It consist of a three story concrete building. The most prominent aspects of the design of Casa Barragan are the emphasis on color, light, shadow, flat planes and texture. The skylights allow for visual tracking of light through the day. Barragan placed as much emphasis on the exterior and surroundings as he did on the interior. Each space is distinct, he design each room for a specific mood.
Longitudinal Section My house is my refuge, an emotional piece of architecture, not a cold piece of convenience. -Luis Barragán
Floor plans
Ground floor plan
First floor plan
Second floor plan
-Entrance -Lobby -Library & Studio -Kitchen -Backyard -Dining room -Gardens
-Master bedroom -Christ room -Guest room -Offices -White room
-Service room -Laundry -Outdoor terrace
Summary Barragan’s architectural practice, is a legacy of the unique use of bold colors. Furthermore, he continued to go beyond the simplifications of the International Style by employing traditional Mexican influences in his architectural design through the use of color, the manipulation of natural and artificial light, and his command of forms. He carefully studied shadows to contrasting zones of diffused lighting. He maintain his virtuosity and sensitivity as a creator of space which transports the occupant beyond architecture into an artistic space, full of colors and “emotional architecture”. He also implemented his devout Catholicism and admiration for the meditative settings into his designs, resulting in the creation of peaceful and tranquility spaces.
You must take life the way it comes at you and make the best of it. -Yann Martel
FILM + COLOR Objec�ves: Know the three key concepts of color percep�on and iden�fy seven dis�nct types of color contrast.
M.3
Outcomes: I really enjoy this assignment and I realized how we perceived colors and emo�ons on the film. Definitely color conveys moods which a�ach themselves to human feelings. Interes�ng how subtle changes in color and messaging can make a world of difference.
BROWN wood farming melanchology comfort security boredom
YELLOW cheerful sun gold optimism happiness wisdom hope
ORANGE warmth brightness hapiness jovial strenght endurance festivity
RED courage exciment love passion aggressive blood war
BLUE water cool calm confortable relaxing clean gentle sadness
Life of PI In Canada, a writer visits the Indian storyteller Pi Patel and asks him to tell his life story. Pi tells the story of his childhood in Pondicherry, India, and the origin of his nickname. After deciding to sell their zoo in India and move to Canada, Santosh and Gita Patel board a freighter with their sons and a few remaining animals. Tragedy strikes when a terrible storm sinks the ship, leaving the Patels' teenage son, Pi, as the only human survivor. However, Pi is not alone; a fearsome Bengal tiger has also found refuge aboard the lifeboat. As days turn into weeks and weeks drag into months, Pi and the tiger must learn to trust each other if both are to survive.
Retrieved from: http://www.imdb.com/title/tt0454876/plotsummary
The Bengal tiger was named Richard Parker as the result of a mix up in the paperwork when it was brought to the zoo. Pi received indications from his father when he was to feed meat to the tiger through a cage. The lesson his father wants to communicate is pretty simply: Animals, especially tigers, are not your friends. Humans are more dangerous than animals because for one, they're cruel, neurotic creatures, but also because human beings project "cuddly" or "cute" traits onto really vicious beasts. Like tigers. In this scene brown color represents strength and the urgent need for security. The background color palette is indicative of the dangerous environment highlighting the tiger which makes it a focal point in the scene. monochromatic
Retrieved from: http://movieweb.com/movie/life-of-pi/richard-parker-featurette/
Pi managed to survive another night out at sea, and begins to feel as if there is a light at the end of the tunnel. This color palette provides the viewers with a sense of warmth and calm. After a long, stormy night, the sea finally settles and peace and harmony arise. Orange is the color used in the second Hindu chakra, which is related to water and emotional identity. Pi described the sun as “an electrically lit orange” and later as “an explosion of orange”. All orange objects are associated with hope for the future. In the film, the goal was to communicate that Pi would survive even though he may find himself in tough situations.
red
yellow Retrieved from: https://hackernoon.com/9-incredible-inspirational-movies-that-could-change-your-life-1a1771c0c802
orange
brown
Red is the color of fire and blood, so it is associated in this movie with energy, war, danger, strength, power, and determination. Pi removes a white cord tied around his right wrist and ties around a tree root in his first evening on the floating island. Anandi had tied a red cord around his right wrist and it was still red as he sat on the raft writing an inventory of his supplies in the guidebook from the lifeboat. As the film progresses, it visibly loses its red color into white by the time of the island scene. Blue also in this movie is a representation of Pi’s young years, when he is described to be full of wonder, marvel and intrigue on how the universe works.
Retrieved from: http://www.wkinach.pl/film,ycie-pi-3d.html
sky blue
blue
red
orange
The ocean and water are extremely important because it dictates the whole story. The color blue is associated with security and strength. In the movie, Pi grows a lot through the story and improves himself as a person. He became focused on finding a way not just for himself to eat, drink, and sleep, but for Richard Parker (the tiger) to do as well. Additionally blue reflects sadness and depression which we are able to observe and feel on the tragedy scene where he lost his family or when a giant storm destroys Pi’s raft of oars and lifejackets. Pi and the tiger become residents of the lifeboat, with Pi maintaining his territory. Pi describes the ocean water as “black and cold and in rage”. At night, jellyfish illuminate the ocean from below and give us an unworldly, ultraviolet blue.
monochromatic
BALANCE + COLOR
M.4
Objectives: Know the balance deďŹ nition and the types of color balance. Distinguish between symmetry, asymmetry, and radial balance. Outcomes: It is important to learn and understand all the components of balance. This lecture helps us to establish a color palette according to their perspective visual weight. Additionally, this help us to consider which color is related to one another and not to overwhelm the environment.
Contrast is opposition in order to show or emphasize differences between two objects. Visual weight is the perceived lightness or darkness of a color. Wayfinding is a physical awareness of one’s place or orientation in a space. Can be used to reduce stress.
Balance is the striving to achieve the point of equilibrium between two or more forces. It is the relationship of different hues to one another when each is “perceived” to be equal its “perceived” visual weight. The term is also used to describe the physical order of objects within a large composition.
There are three types of spatial balance: Symmetry is the arrangement of elements on either side of an implied axis that are equally balanced and of the same shape and form. Radial balance achieved by equal rotation of design elements around a central axis. Asymmetry result when element on either side of an implied axis are equal in color weight but vary in shape and size.
HEALTHCARE + COLOR
M.5
Objec�ves: Inves�gate some of the different aspects of color and the ways it is perceived by people. Describe some theories and studies regarding effects of color on the psychological, emo�onal and physical health of people. Outcomes: It is important to consider the evidence-based research, we need to use our judgement as designers to create an environment that can be suitable to the common popula�on for which an environment is been created. We should take advantage of color and texture and apply it as means of wayfinding associated with each specific area in a health care facility.
Color therapy, or chromo therapy, is the “practice of using colored light and color in the environment to cure specific illness and in general to bring about beneficial effect” (Hope and Walch, 1990, p.75).
RHYTHM + COLOR
M.6
Objec�ves: Know the concept of rhythm and the difference between repe��on, alterna�on, progression, con�nua�on, and radia�on. Outcomes: A�er comple�ng this module, I now have a be�er understanding as to how important that the flow of a space is vital to any design.
Rhythm is movement. It is a natural evolutionary trait in nature that can be transferred to interior spaces and can be further emphasized with color. Rhythm is the repetition, recurrence, or sequencing of something. Rhythm can also be used to describe a progression of shape and size. Repetition: systematic orderly succession of identical design element along a deďŹ ned path in space. Alternation: two distinctly dierent design elements are repeated in sequences. Progression: repetition of similar elements with a continues change. Continuation: the placement of one or more colors to create a continuous movement of the eye through a space. Radiation: concentric color arrangement to create visual movement.
RETAIL + COLOR
M.7
Objec�ves: Understand how color contrast can create focal points in a space. Dis�nguish emphasis from value, hue, textures, and shapes. Outcomes: I selected Donald J Pliner retail store at the Dadeland Mall, because it clearly reflects the brand and materials used in their products. This is a good example in how we can use color and texture to create zones and emphasis which a�ract the users’ a�en�on in space.
Donald J Pliner The Donald J Pliner is a store located at Dadeland Mall in Miami, Fl. It’s specializes in quality cra�smanship for men and women’s luxury footwear and accessories. The store design is infused with elements reflec�ve of Donald’s worldly travels. The environment imitates the richness of the unique designs found in the products, including handcra�ed nature and exo�c materials. Since 1989, the brand has been known for the combina�on of fashion, fit and comfort Inspired by Energy.
Contrast of hue
This is a contrast between luminous and dull colors. The store is designed with a simple white palette, browns, and intense colors such as red. The use of red in small details and elements around the store makes focal points which do not irritate customer’s experience. Although red is an aggressive color that many people cannot tolerate in large doses, this palette scheme helps customers associate the colors with the brand.
Contrast of value This is a contrast between Light and dark. This design is an example of value contrast, the warm colors and the dark wood finish of the furniture contrast against the background and allows for the product to be showcased. Also the floor and ceilings are based on the use of different brightness and tone values of colors.
Contrast of Design Feature This is a contrast between shape and form. The ceiling design is an element of interest, which is not only for aesthetic purpose, but invites users through space. The texture, color and design through the space establishes a pathway and adds a visual
Contrast of Texture This is a contrast between smooth and rough. The dierent textures used in the environment are mixed with color to create a dramatic eect. The textures play an important role to the function of the space, it helps to separate spaces between women and men sections. The rough textures create an intimate feeling in the spaces, grounded while smooth textures bring a sleeker more aloof tone to the rooms.
Focal Point
A focal point is a single design element that receives the greatest visual emphasis in the room. It gives the eye a place for rest or contemplation (Reed 2010). The wall behind the cashiers, is the focal point, it is the place where the eye travels to immediately upon entering the store. This focal point is made by implementing directional movement that leads the customers to the cashiers.
PROPORTION,SCALE UNITY, HARMONY + COLOR
M.8
Objec�ves: Know the difference between scale and propor�on. Implement color grada�on in a design to dis�nguish similar but different elements. Outcomes: On this models we study the propor�on, color, form and inclusive the space. With the use of grid propor�onal systems discussed in chapter 6, we can be�er understand and use a method which helps us to develop a color composi�on and create a pale�e that expresses propor�on.
Proportion is deďŹ ned as the size relationships between elements and the visual composition or space. Scale refers to the size of a shape in relation to a given known, in most cases, the human body and its position within pace. Proportion and scale are related in that you are using a hierarchy of color information where proportion will be given to the accent, within two thirds of the space volume. Unity is deďŹ ned as the repetition of colors to achieve a uniďŹ ed whole. Harmony is the result of a perfect balance between individual color relationships. Unity and harmony of space can be achieved through similarity of color, shape, and form.
PHOTOGRAPHY + COLOR
M.9
Objec�ves: Read and watch the tutorials about �ps and tricks for taking photos. Take photos and edit them in Photoshop, adjus�ng the levels and crop them. Outcomes: The tutorials were very helpful in the process of taking a good quality picture. Anyone can pick up their phone and take a photo, but it takes a skilled photographer to create a great image. We usually just shoot automa�cally and then complain about the camera; when in fact, we are not trained in how to use it properly.
NATURE
BEACH
VARIETY is a principle of design that is concerned with the combination of one or more color elements that use line, shape, texture, and/or pattern to create diversity and contrast in an interior
HOSPITALITY + COLOR
M.10
Objec�ves: Iden�fy how color and variety are used in two different areas of a hospitality environment. Outcomes: I have chosen to analyze the JW Marriot Marquis hotel in Miami for this module, because it infuses sophis�ca�on, design, art, fashion and luxury. I learned about line, shape, pa�ern, and texture in the hospitality environment. These design choices are very strategic throughout the en�re design to make guests feel a certain way without even knowing it.
Project: JW Marriott Marquis Miami Designer: MDM Development Group (2010) Location: 255 Biscayne Boulevard Way, Miami, FL.
Lobby
Color and line. A line can take many forms including symbolic. Horizontal lines increase the percep�on and sensa�on of a space being res�ul, relaxing, and calm. The long horizontal lines of the lamp and front desk can visually expand the space, making the room appear wider. In this case, the front desk welcomes the client. On the other hand, the lines used in the opposite side of the lobby are curved. Curved lines are so�, gentle and fluid. Curvilinear lines are organic and peaceful, and can be combine with sharp right angles and straight lines for contrast and added emphasis. Color and shape. Color and shape are used to iden�fy and provide the viewer with a variety of shapes, textures, and forms reinforced by colors, can s�mulate the senses and create an environment. The circular shapes in the lobby represent the fluid movement, and enable the eye to travel around freely. The organic shapes on the wai�ng area contrast the rigidity of the rec�linear forms in the front desk. Those shapes on the floor are accentuated by the forms on the ceiling. Color and texture. The element of texture is defined as the visual characteris�c and tac�le quality of the surface of a material. It can refer to rough or smooth finishes, glossy or dull surfaces and so� or coarse tex�les. The fabric on the furniture brings texture into the space. The use of shiny finishes use in this space impart a reflec�ve quality and give the space a sense of natural light. Color and Pa�ern. The high contrast color in the middle of the space a�racts a�en�on to the design. Within an open plan, the tendency is to change color pa�ern and hue within separate ac�vity areas. The pa�ern used on the floor limits the space where the si�ng area and the circula�on are.
The color pale�e selected clearly avoids impulsive colors which provide unity and harmony within the space. The gold color creates a contrast with the neutral pale�e of materials and finishes in the modern space.
Color and Line
texture
Color and Texture
Color and Shape
pa�ern
Color and Pattern
_
Vue lounge
Color and line. Line is the connec�on between two points in space. Lines can be seen around the space, on the par��ons and the floor. These suggest a radical movement to the viewer. Horizontal lines are res�ul and remind us of a body at rest. Color and shape. Shape is the result of one or more lines connec�ng to form a two dimensional image such as a square, circle, or triangle. The most apparent combina�on of color and shape happens with the columns’ shape in contrast to the diagonal lines of the floor and the horizontal lines of the par��on.
Color and texture. The so� furniture texture contrast with all the planes of the space (ceiling, walls, and floor). Tac�le textures, such as fabrics, ignite the sense of touch. The carpet texture absorbs light reducing the impact of the color and creates a more subtle environment. These types of surfaces communicate a sleek and simple design style that o�en relate to contemporary interiors. Color and Pa�ern. They use a minor quan�ty of pa�ern in the space. You can see some pa�erns on furnishing accessories (cushions). The element of pa�ern works in conjunc�on with the color pale�es of the room. It is used to add life and interest to the furnishing.
The wooden horizontal lines welcome you to go up the stairs. These elements provide a semiprivate place for mee�ngs. The
line
Color and line
texture
Color and Texture
shape
Color and Shape
pa�ern
Color and Pa�ern
RENDERING + COLOR
M.11 SALAZAR
Objec�ves Choose a pale�e color and render a photoshop image of a living room. Outcomes This is a good exercise to put in prac�ce the 60-30-10 rule to create a professional color solu�on. It is helpful to select the appropriate satura�on and how to alter the hue by �n�ng, shading or toning.
Neutral Scheme This is an inspira�on image, where I took Shades of blue with a li�le gray boost a beachy vibe. The natural colors and materials, the beau�fully wood finishes and the classic black and white work really well with this pale�e. - Blue is associated with water, cool, calm, comfortable, relaxing, and clean. Light blue is associated with gentle and reflec�ve. - Gray is associated with technology, intelligence, and wealth. - Browns is related to the comforts of home. Wood, and farming. It is also associated with comfort, security, and gloom.
To prevent monotony, light and dark value contrasts of the neutral scheme are added, and various textures are used to harmonize the scheme. The turquoise details adds an accent color to the otherwise achroma�c color scheme. The interior has been designed with high contrast of materials and simple lines, all in harmony. Colors and elements are added to break up the monotony, and to provide the viewer an array of visual s�muli. The element applied are lines, shapes, textures, pa�erns, and colors to the rendering.
The inspira�on for the color pale�e itself is to reflect sophis�ca�on and relaxa�on. The schemes is based around colors such as gray, ivory, brown, beige, black, and white. The render a�empts to convey this mood by using the 60-30-10 propor�on system. Overall, the use of this propor�on system u�lizes the space in a way in which light colors are dominant, dark colors are complementary, crea�ng contrast to make space visually balanced. Finally, ten percent of the space is highlighted by the accent.
CULTURE + COLOR
M.12
Objectives: Understand that religious, political, and social values shape color symbolism and meaning. Understand that color planning should consider cross-cultural dierences. Outcomes: I was able to identify how my own heritage and the Italian culture have lots of similarities in the manner in which color is applied, this becomes very important when designing, since cultural sensitivity should be taken into consideration during the planning of a built environment.
Nicaragua
Italy
Nicaragua Nicaragua is the largest country in Central America bounded by the Pacific Ocean and Caribbean Sea. Nicaragua’s culture has been shaped by its geography, agriculture, history, and people. Volcanoes dominate landscape of Nicaragua, as well as the art and consciousness of Nicaraguans. The Nicaraguan flag has three horizontal bands with the national coat of arms centered in the white band. The white band represents the territory of Nicaragua as well as its pureness. The two blue bands signify the two oceans that border Nicaragua. Nicaragua’s architecture is incredibly diverse. Today we see Spanish influence in the architecture and design of cites such as Granada and Leon. Through these cities and small towns, vibrant colors abound. There are many examples of the strong cultural expression in Nicaragua, and an important one is found in the creative, traditional Nicaraguan costumes, where they were used during celebrative dances, that helped shape Nicaragua’s festive
Silver: Sleek, classy, modern Products for men, tools, car parts. Gray Humility, grief, depression, strength, wisdom Hair color, clothing, concrete, steel Latin America Mexico. Red Sunny, religion, compass, vibrancy, intensity, death Aztec color for north, used in national ag. Yellow Sun Folk art. Blue Mourning, trust, tranquility Wear when someone dies. Green Vegetation. Gold Wealth, church adornments Jewelry Black Mourning, religion, respect, death Cleric robes. White Pure, clean, peasant Peasant clothing. Silver Jewelry; silver mines.
Italy Italian culture is steeped in the arts, family, architecture, music and food. Home of the Roman Empire and a major center of the Renaissance, culture on the Italian peninsula has ourished for centuries. Many of the colors seen in the lush pallets of Italy come from food, the landscape, and the sea that surrounds the country. As a predominantly Catholic country and the seat of the Pope, Italian use of color permeated with religious symbolism. Blue is the oďŹƒcial color of the Royal House of Savoy and this attribute to the Italian monarchy survives today. It is the National color, together with the tricolor ( green, whithe, red) is the symbol of Italy. There is some controversy about the colors of the ag of Italy. The most popular - which has become the accepted fact - is that the colors represent Italy itself : white for the snowy Alps and other mountain regions; green for the plains and the hills; and red for blood spilt in the Italian wars of independence.
Red Light, fidelity Italian flag, restaurant decorations Blue Mourning, judgmental, heaven, purity n/a Purple Nobility, endurance of suffering Martyrs' clothing Gold Wealth, luxury, divinity, greed Jewelry, church decorations, crosses Black Humility, death, mourning Venetian gondolas Silver Wealth, luxury, craftsmanship Jewelry White Virtue, purity Clothing Brown Earth, penitence, humility Leather goods, religious clothing Italy has a very broad and diverse architectural style, which cannot be simply classified by period or region, due to Italy's division into several city-states. its two greatest and most influential periods—Renaissance and Baroque.
Conclusion Using the terms and concept included in the class, it is helpful to learn about how to use color successfully. We should not be afraid of using colors, but we must find a perfect balance on color, textures, and elements within the environment. It is my opinion that this quote from the book summarizes everything: “Design is approached using the elements and principles to find the right balance of creativity and function while introducing style and aesthetic value.” It is important to understand that using color in conjunction with line, shape, texture, and pattern gives the designer the capacity to add visual stimuli and create a variety of experiences for the users of the built environment.
References Commisceo-global: http://www.commisceo-global.com/country-guides/italy-guide CN traveler: http://www.cntraveller.com/guides/south-america/nicaragua Donald J Pliner website: http://www.donaldjpliner.com/blog/ Fontagro: https://www.fontagro.org/en/who-we-are/organization/member-countries/nicaragua/ Furniture for Public Spaces WESNIC: http://www.wesnic.com/portfolio/donald-j-pliner-miami/ Kids National Geographic: http://kids.nationalgeographic.com/explore/countries/nicaragua/#nicaragua-cathedral.jpg Live science: https://www.livescience.com/44376-italian-culture.html Marriot: http://www.marriott.com/hotels/travel/miajw-jw-marriott-miami/ National Geographic: http://www.nationalgeographic.com/travel/destinations/europe/italy/ Nicaragua Best Guides: http://www.nicaraguasbestguides.com/ Reed, R. (2010). Color+Emphasis. Color design: Transforming interior space. New York: Fairchaild Books. 78-79 p. Via Nica: https://vianica.com/nicaragua/practical-info/3-national-symbols.html