Colour Theory
M.1
M.3
M.6
M.11
M.8
M.12
M.4
M.10
M.1 M.2 M.3 M.4
You + Colour Theory + Colour Designers + Colour Film + Colour
M.5 M.6 M.7 M.8 M.9 M.10
Balance + Colour Photography + Colour Rhythm + Colour Retail + Colour Scale + Colour Hospitality + Colour
M.11 M.12 M.13
Rendering + Colour Workplace + Colour Culture + Colour
M.13 Colour Theory
Colour Theory
M.1
You
+ Colour
Interior Architecture Graduate Design 1 3rd Year
Colour Theory
A few images from home…
b a c kg r o u n d
WHERE Trinidad and Tobago WHAT Mixed with African and Indian and some others… we call it ‘Dougla’ WHO Father, Mother, One Brother, Five sisters WHAT Awarded a scholarship in art & design by my country to study design away from home WHAT English and Broken English WHERE I’ve lived in Trinidad and Miami WHEN At seven years old I already started drawing floor plans and making paper city models, so I’d say a few years now WHAT Other than the scholarship, my passion and my focus. A lot of sacrifice has gone into my presence here and this opportunity, I don’t take it for granted. I’d love to venture into high-end residential and hospitality design.
M.2 Theory
+ Colour
Colour Theory
Colour theory is the study and practice of a set of principles used to understand the relationships among colours. From a design perspective, we are engaged in the human interface involving the way people respond to colour.
Without light, we cannot see or process colour. Some properties of light include, reflection, refraction and diffraction. Colour language describes the jargon used to understand the principles behind colours and colour association, these include hues, shades, tints, tones, and the colour wheel.
Shiseido Cosmetics Qiora Store and Spa | New York | 2001| Architecture Research Office | Aoshi Kudo |
M.3 Designers + Colour
who | Aoshi Kudo born | Japan 1964 attended | Tokyo National University of Fine arts, 1988 Shiseido International France in 1992 title
maisha richardson | colour theory | m.3. | colour + designers|
Colour Theory
sensual materials
The Qiora Store and Spa was designed for Shise- ido Cosmetics to be a fusion of a Quiora brand’s flagship store and a day spa where all products would be used. principle | if the store and spa is outwardly luminous, the source of such light must be a sense of inner calm | inspiration | the product intention | to unite the product with the space | blue organza fabric veils suspended from twenty-foot celings define the boundaries for retail, treatment areas, and spa cabins|
diffused lighting
curvacious forms
White represents purity, cleanliness and empowerment. The store hosts massive windows at the entrance to draw the eye of a typical passer by. The products are set to glow and curveliniear shaped are used thrroughout the design
why blues and whites?
Blue is a cool colour that is associated with water, cool, calm, comfortable, relaxing, clean and gentle.
The colors used are specific to fabric placement and illumination. This means that lighting and translucency had a heavy role in colour pallate selection. The set up is designed to draw the eye into the space more and more and to evoke a soothing and clean, refreshing mood.
The design of the spa was conciously calibrated to have a sense of naturalness and effortlessness in combining spa product to the customers.
Summary |
The materials used are delicate. The colours as well as fabric used adds a sense of softness to the main spaces.
This Qiora store and spa was designed to be a relaxing escape fron the busy everyday life. Designers saw that the best way to do this is to take advantage of the colour used to set the tone of the atmosphere.
Lighting used ranges between warm and cool shades of light illuminating the products through fibre optics.
They wanted to create a clean, peaceful, yet intriguing place where one can unwind and forget about their problems. The use of cool, calm blues and white made this project a sucess. The use of materials and lighting also played a part as different shades were achieved through coloring and light intensity.
colours | ‘dyed milky white, aqua, and darker blues are layered to dematerialize the solid surfaces of the round spa cabins’
I would consider the use of color in this project one of the better examples of how colour affects the atmosphere.
M.4 Film
+
Colour Amelie is the story of a young Parisian girl who had a secluded childhood. Amelie spends time helping other people in their life journeys but somewhat running from her own. She eventually finds the love that she has been wanting and gives happiness to others that have been needing it. Surrealism is expressed through the use of analogous colors, mainly: greens, yellows, oranges, and reds. In some instances, the director indicated a past time though the use of black and white, greys or monochromatic tones.
Jean-Pierre Jeunet captures Amelies innocence, her curiosity, her fantasy world and her fears all with the use of colors repeated throughout the movie to show consistency with her childhood into adulthood.
Amelie
RICHARDSON Color + Environment _ FILM ANALYSIS_M.4
Colour Theory
PINK These two scenes share a similarity other than just color. In the top left scene, we get a glimpse inside of young Amelie's imagination as this was a time where she had no friends and felt estranged to her parents. Many of the scenes before this kept this very same pink and peach hue. In the lower left scene, Amelie’s life with a new job is being described. Different persons in her life are introduced and their relationship to her and in the film are established.
In both accounts, Amelie's innocence is represented. She is seen as different from the world but soft and one cannot help but be sympathetic towards her.
Pink: innocence, tenderness, caring, acceptance, calm. Peach: charm, self-defense, fear
Beige: conservative
YELLOW Yellow in most instances represents happiness and comfort, however in this particular scene, it shows a peace of mind in Amelie as well as hope for something to come. It seems very symbolic for Amelie’s fantasy. In this scene, Amelie is listening to the news of princess Diana’s death and is about to discover something that changes her life and directs the rest of the movie.
Brown: comfort of home
Yellow: enhances concentration. Signifies wisdom, vitality, hope and self esteem.
Beige: conservative
OLIVE GREEN In this scene, Amelie is found searching for the owner of the tin box that she found. The main color palette is olive green. Green is one of the main hues used throughout the setting of the movie. It symbolizes hope and nature and contrasts to the red used in the other settings. Here she is hopeful to find him. Green also represents pieces of her childhood that remained.
Brown: comfort of home
Green: comfort of home
Olive Green: comfort of home
Beige/Brown: conservative, comfort of home
RED AND GOLD In these various scenes, red takes the primary role with a gold accent and a hint of blue. Red has the tendency to represent intensity and is a warm, fiery color. I also evokes passion and love which is a main theme in the movie. We were introduced to the red on a smaller scale at the beginning of the movie but as the movie progressed we came to see full settings using mainly red and gold. The red that she continues to wear represents her childhood. (tesscetin, 2014) The blue is used to show a sense of imbalance.
Brown: comfort of home
Red: courage, passion, aggression, anger, frustration. Used to increase impulse
Gold: physical, honor, loyal
Blue: strength, authority,
CONCLUSION
I’ve learnt that color has a way of setting our mood. Be it in film or simple still imagery, it stimulates our minds into feeling a particular way. In this movie, there is a solemn, yet curious, undertone which was all set from the opening scenes. The directors use of expressionistic color is trying to reveal even more of the story to us. I feel as if now I will be paying more attention to the settings in movies and trying to figure out what else the color choices are trying to tell the viewer. I like that it is another way to help tell the story.
Balance Refers to the relationship of different hues to on another when each is perceived to be equal in perceived visual weight. The human body is a great example of this. Symmetry is a type of formal balance with elements equally arranged on both sides of an implied axis.
M.5 Balance +
Colour
Colour Theory
M.6 Photography +
Colour
Colour Theory
bay front
M.6
Colour Theory
bay front
M.6
Colour Theory
Rhythm is defined as a natural evolutionary trait in nature that can be transferred to interior spaces and can be further emphasized with colour.
M.7 Rhythm +
Colour
Colour Theory
M.8
Retail
+
Colour
Colour Theory
colour
&
emphasis
Urban outfitters was my choice to analyze because I tend to see many of my friends gravitate towards this high class, edgy fashion store which consists of natural materials with a rustic edge. Some of the images collected are from the Urban Outfitters on Lincoln Road as well as one in Boston that I took during my visit.
3. Contrast of hue 4. Contrast of value 5. Contrast of a design feature 6. Contrast of texture 7. Focal Point
A.8 Retail Analysis
(Miami + Boston)
Maisha Richardson
URBAN OUTFITERS
Contrast of hue Contrast of hue is boldly recognized with the linear red forms protruding from the floor to form this section of display racks. The intensity of the red, though situated upon thin, fragile rods, draws attention to itself. It is not overbearing, and still allows you to recognize the clothes hanging in-between. Figure 1
Contrast of value Contrast of value is observed in this wall display. The colour in the glass pane varies from clear to deep yellow-green and is placed in rugged wooden frames. It not only draws the eyes but also mirrors its effect on the display set up below it showing significance to this area. Figure 2 (urban outfitters website)
Contrast of a design feature
Figure 3 Here, contrast of design feature can be seen in both shape and form. The curvature of the lighting feature which is emphasized to draw attention to the space is much different than the linear forms hanging below it. The colors vary as well as the brightness. This emphasis informs the client that this space in the display is significant. The forms are placed directly above the display feature and off set to the linear elements.
Figure 4
An example of contrast in texture is seen here. The soft, textured fabric is placed on the hard, smooth wooden chest. It deliberately leads you to the fabric and gives the urge to pick it up. The effect, though very subtle, still succeeds in appealing to the audience. The softness of both colors shows blending but the difference in texture is stilldominant.
Focal Point
This focal point, is a single design element that draws the eye. The shattered half circle hanging in the staircase of the Urban Outfitters in Boston made people look up and progress upwards towards the second floor. There is mystery behind the reason for the figure which evokes enough curiosity to keep peoples attention. The shattered effect also plays well with the sunlight streaming through the windows.
Figure5
Scale
+ Colour
M.9
Proportion is defined as the size relationships between elements (parts) and the visual composition or space (whole). Scale refers to the size of a shape in relation to a given known, in most cases, the human body and its position within space.
Golden section: a mathematical formula where an object’s width is to its length and its length is to the sum of its length plus width. Fibonacci Sequence: a series of numbers where each number in the sequence is the sum of the two preceding numbers)
Colour Theory
Hospitality + Colour
M.10
PROJECT: THE SETAI DESIGNER: Jaya Ibrahim LOCATION: 2001 Collins Ave. Miami Beach, FL.
Colour Theory
line
shape
The Setai Bar area which mostly emphasizes line, shape and texture, combined to balance and harmonize the space.
texture
Upon entering The Setai, there was a mysterious element that I couldn’t help but shake. I attributed this to the dimly lit entrance space. The dark lighting opened up to the brightness of the central courtyard which seemed to be a focal point in the overall design. To the left was the reception desk clad in brown and lit by gold. The reception area was divided from the bar space by a large partition. Line, shape colour and texture were all observed in the bar area as previously shown. ‘Line’ adds to directionality. The long lighting feature located above the bar’s countertop leads the eyes from the ceiling to the bar, delicately ending in simple yet effective lighting for the countertop. Shape is emphasized through the square back panels of the bar as well as the cylindrical light features. It gives us a sense of order and organizationwhich may be what this bar is trying to represent. Texture and pattern are combined in this area where the square panels are located. Each one is perforated with a pattern and adds an edgy quality to the space. The rough texture of the panels contrast with the smooth bottles sitting in the cabinets.
There is no heavy emphasis placed on any one object as all features of designed are made to work in harmony, no one feature taking from the other. Warmth is expressed through the brown wood used for the seating and the panels as well as through the street-like interior floor work. Richardson
HOSPITALITY
Details The central lounge and courtyard at the Setai is an open air space with naturalelements of trees and a water feature. Line, shape and texture here are represented in differentways and are less distinct than the previous image.
line
shape
texture
There are clear symmetrical qualities captured in the photo taken of the courtyard at the Setai. The perspective view captures many of the elements of design, mainly line, shape and texture. There is a bold emphasis placed on the vase in the forefront of the p icture and a mild emphasis placed on the white fountain that is lit up in the backdrop. Line is repeated in the above head condition with slats laid horizontally. The shape of a square can be seen both in the perspective view as well as for the lounges and the planters for the trees. This view puts visual weight on the immediate left and right of the picture and shows great structure and order in form. Text ure is seen both in the ripple effect of the water as well as in the vase which is also designed to have a ripple effect to blend into th at of the water. To me this was a great approach to incorporate textures in design as it is done both directly and indirectly. The brown and green nature from above responds well with the white and grey from below. The space is serene and light which make me want to stay there and lounge for a while. The semi privacy of the space, as it is enclosed yet still open, adds to the relaxing and safe atmosphere that the designer was probably aiming for.
COLOR + VARIETY _ HOSPITALITY
M.11
Re n d e r i n g + C o l o u r Colour Theory
This colour palatte appealed to me for its soft nature. It uses deep powerful colours to set a mood and it also seems quite relaxing.
DOMINANTBeige. Beige is dependable, conservative, and flexible. The color beige is neutral, calm, and relaxing. SECONDARYTeal. Teal is a cool colour, blends in with nature as seen in the ocean. ACCENT 1- Gold. Considered a rich colour that accentuates the space its in. ACCENT 2 – Tonned Teal. This is a teal mixed with grey resulting in a darker version of the colour. ACCENT 3Gray. Gray is a cool, neutral, and balanced color.
I used the 60-30-10 rule and made the beige the dominant color as it is the neutral one. The secondary colour to use is Teal as it is the colour that will ad mood to the space and the accent colours are gold, grey and deep blue. The colours appear as analogous on the colour wheel which tones down the colour palate. Shades and tones are seen among the
.
selection
PROJECT: Adobe 410 Townsend DESIGNER: Valerio Dewalt Train Associates LOCATION: 410 Townsend Street, San Francisco, CA
M.12 W o r k p l ac e + Colour Colour Theory
ANALYSIS
DISCUSSION | ANALYSIS Variety is the principle of design that is concerned with the combination of one or more color elements with shape, form, pattern, and texture to create diversity and contrast in an interior space.
line
In the image to the right, we see the use of ‘Line’ in design where wooden pillars are used to both frame the space as well as to add directionality. It connects the ceiling to the floor with a change of material, from cold and formal to warm wood. Shape is used in many different ways through the office space, however, here is an example where it is both noticeable and successful. The square tiles of the carpet which are divided into blue and grey give a feeling of formality and sharpness. It then has the illusion of being extruded from the ground to form the grey seating area, where some squares act as solids, and others act as voids. This example shows the variation from a simple decorative carpet design turning into functional design.
shape
ANALYSIS
DISCUSSION | ANALYSIS Texture is both a visual and tactile characteristic of a surface. In the example shown below, the texture is made from the perforated black screening. The screening divides the space into two but the addition of the perforations allows the space to still feel as one. The smooth material adds both depth and interestto the space. Pattern is a repetitive arrangementof shapes and colors in a systematic sequence. The pattern on the wall which seems to resemble pixels, travels from the wall to the glass. While it is not consistent in order, it is in colour and adds an element of rhythm and movement to the space.
texture pattern
DETAILS
EXPERIENCE The Adobe office has a strong sense of variety and diversity. From the use of different shapes, such as circles, squares and hexagons, to the use of prominent colors like purple and blue and even to the use of line and curve. Different spaces offer a sense of rhythm and movement while others represent calm and stillness. I think the designers balanced the design well as there isn’t any space which appears to be overly stimulating, yet still they were able to successfully use many different design elements to make one cohesive office.
My CULTURE and country is Trinidad and Tobago. The most memorable color of Trinidad is Red representing fire, and unity.
C u l t u r e + C o l o u r M.13
I have chosen Greece to learn about their culture and how they use color. I’ve chosen to do Greecebecause unlike Trinidad, they seem to have a defined of color palate attributed to their culture. I see Greece as an exotic location that is simple in color yet complex in design. I’m interested in exploring it more.
Colour Theory
Trinidad & Tobago
Richardson
Trinidad & Tobago YELLOW Represents joy, happiness and vitality. Yellow arouses cheerfulness BLUE This prominent colour is associated with stability and faith RED Represents fire and is associated with energy and strength.
PURPLE Associated with royalty, powerand ambition.
ORANGE Represents enthusiasm, success and creativity.
In Trinidad and Tobago, we consider ourselves to be a ‘melting pot’ because of our deep mix of people. African, East Indian, Venezuelan, Chinese and other minor places. The names of our cities originate from Spain, France and Britain. This cultural fusion has resulted in a fusion of foods, celebrations, religion and architecture that has varied over time. This makes attributing one particular color to our name very difficult. I used an image from a religious festivity that occurs annually. I chose this image because I feel like the numerous colors can represent the numerous aspects of Trinidad as a cultural melting pot. The festival involves throwing colored powder in the air and people dancing and celebrating in it as it covers them from head totoe. One of our major festivities that we are especially known for is Carnival. People travel to Trinidad from different countries to parade in our streets. Much like the religious cultural festival, a rainbow of colors can be seen during this holiday through costume and jewelry.
Religion: East Indian’s celebrate holi phagwah
Greece Richardson
Greece BLUE Here as reflected on their flag, represents wisdom and confidence.
WHITE Represents purity, light and goodness.
PINK The pink bougainvillea adds a playful cheer to the setting. GREY This cool neutral color is timeless and adds balance.
BROWN Relates back to the earth giving a warm feel to the pure white.
In Greece, it is easy to spot the variety of colors splash across the white canvas of the buildings. After some decades, the Greek flag along with the preexisting colors in other islands, became the strongest mark of the Greek Cycladic islands and since 1974, all new houses have been painted white.
These houses were painted white to reflect the summer sun and emit a golden color during sunset. It also serves a functional purpose of making houses a bit more heat resistant as they were built with stone. Asbestos was used to produce the white color. This contrasts greatly with the colorful views of Trinidad and its multicolored houses, however, both countries reflect the sea blue in its views.