COLOR THEORY
IND 5325
NISHITA ASWANI
TABLE OF
CONTENTS
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ABOUT ME 3 THEORY 5 RESEARCH 7 PRECEDENT DESIGNER 9 FILM ANALYSIS 17 23 BALANCE + RHYTHM 25 RETAIL ANALYSIS 33 PROPORTION + UNITY 35 HOSPITALITY ANALYSIS 41 CULTURE STUDY
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ABOUT
ME
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born in India and raised in the Caribbean, I love being exposed to different cultures and traveling! Patterns and colors have always interested me, as well as painting, photography and drawing. I’ve always been the artistic type and hope to expand on that in my future career of creating in all forms and scales.
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Understanding how color is effected by lighting is one of the key elements to understanding the over all color theory. Reflection, Defraction, and Refraction control the way in which light reaches your retina and can result in solid, prism or raindbow effects of color. It is also important to know that the appearance of a color is also affected by the colors that surround this. This should always influence a designer’s choice of color palette. When in extreme light, the color seems to be less intense because of the dispersement of pigment to the eye, where as in darker environments, color appears to be more strong.
THEORY
Color mixing is the next step. There is additive and subtractive mixing that relates to painting pigments or digital coloration respectively. In the situation of non-natural lighting, color is further manipulated through the lens of either a warm(reddish) or cool (blue-ish) undertone.
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When people originally think of modernism, they think of white walls, abstract art, and simplistic furniture. Color is almost the last thing on that list. However, according to Barbara Klinkhammer in this article, color has a very important play in the development of modernism. The rejection of color for decorative purposes goes hand in hand with the initial movement of modernism actually. After the First World War, functionality was one of the main motivators of modern architecture. Living and working quarters needed the fundamentals and had no room for extras. So it isn’t a surprise that color development followed the same pursuit. This manner of using color allowed for the natural development of character for each individual color and how it related to spatial design, as opposed to the muddled combination effect that colors had in previous architectural periods. For example, architect and painter Bruno Taut was one of the first to design a set of uniform simplistic row houses with ostentatious colorful exteriors in the Gardencity Falkenberg. Gaining from the painter in him, Taut saw color as symbolic and emotion evoking. His underlying reasons for color reform related directly to social reform. By using the different colors, he was able to individualize each house, taking away from the monotony of the structure otherwise. He was also able balance rhythm and collective identity, with elements that tied the whole built environment together. Emotionally, he upgraded the working class’s living situation, increasing self-esteem and giving them their individuality back. Taut did all of these things through the use spatial planes that were painted according to the sunlight’s path. For example, bright colored walls were never in direct view of the sun, while other walls were physically lit up by the light, leaving the bright red a duller red at all times because of the lighting. Le Corbusier, another painter and architect, created a purist language of forms and colors within spatial design. Instead of visualizing colors on planes, Le Corbusier saw the colors as means of creating and dissolving space. He found that certain colors had construction qualities and deemed these to be “architectural colors.” These include in this hierarchy: yellow ochre, red brown, white, black, ultramarine and mixed colors between. There is a composition that is created from bringing colors together and the absence of them. Le Corbuiser saw three uses of color: one as a form of classifying an object, the second as a spatial modifier, and the last as articulating volumes to reinforce design.
RESEARCH
CITATION: Klinkhammer, Barbara. "Legacy + Aspirations." The Spatial Use of Color in Early Modernism. N.p.: U of Tennessee and Bauhaus-Universitat Weimar, n.d. 222-25. Print.
During the 1900s, several movements had important influences on and were influenced by the use of color in design. The De Stijl movement believed in rationalism and universal harmony, and sought out to define elements through the use of color and consequently create a “sculpture” within the space. The composition of the space now includes not only the walls, but also the furniture, colors, etc. The Schroeder House is seen as an icon for this thought development. Another movement known as the Bauhaus was also developed from the use of polychrome spaces related to tectonics and proportions. The beliefs of using color to define the existing geometry as well as to categorize zones that create a visual linking and continuity is what makes this break in “wall painting” that other architects did before. Thinkers in the Bauhaus do not use color as an illusion or modifier, but instead returns to the idea of functionality of color within the given space.
It is almost an inherent understanding of color and spatial design once you’ve read the whole article, however at the beginning I was also catorgized in the group of people who did not associate color with early modernism, at least. It makes me think of abstract contemporary art like what Mies Van der Rohe uses in his architecture, the Mondrian piece. I always thought that at the most a plane painted red was the ideals of modernism. However, now I see a whole new view point to integrating color into other aspects of architecture that goes beyond the planar surfaces. Developing color in a more 3D aspect, that still related to the functionality and conceptual design.
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STEVEN HOLL
“I believe that architecture needs to be completely anchored in its program and site...unfazed by fashion. If architecture’s original concept can go deeper, rather than broader, it builds a meaning on the site. It fortifies a locus of thoughts and philosophical hopes, or even humor and stories, which are oblivious to whatever style it is.”--Holl
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FROM: Bremerton, Washington CHILDHOOD: Building since young age. Personal “mythological landscapes” in the form of two-three story tree-house. EDUCATION: University of Washington in Seattle Studies in architecture in Rome, 1970 Architectural Association School of Architecture in London, Graduate level
DESIGNER PRECEDENT
INSPIRATIONS: architects Louis Kahn and Le Corbusier. Worked closely with world-renowned architectural thinkers such as Juhani Pallasmaa and Alberto Pérez-Gómez. WORK: Founder of Steven Holl Architects Tenured professor at Columbia University's Graduate School of Architecture and Planning, since 1981 ULTIMATE GOAL: architecture that “inspires alive” AWARDS: Alvar Aalto Medal, 1998 America’s Best Architect by Time Magazine 1991 AIA Gold Medal, 2012 Praemium Imperiale in 2014
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Known for his ability to completely and subtly blend space and light into a contemporary and sustainable design, Holl’s work is aimed to address the human experience and while maintaining a location-driven and specific design. Explained as all aspects “the phenomena of the space of a room, the sunlight entering through a window, and the color and reflection of materials on a wall and floor have integral relationships."
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ST. IGNATIUS CHAPEL LOCATION: Seattle, WA, United States YEARS BUILT: 1994-1997 CLIENT: Jesuit chapel for Seattle University SPACE: 6,100 sf
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CONCEPT Described as “seven light bottles in a stone box�, Holl uses the irregular shapes to create this concept. The skylights and baffles attached to the walls come together to produce a natural and subtle effect of the color.
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Each of the shape is designated to a certain color and each color related to a function of service worship. The south shape represents the procession, one of the main aspects service. The north section faces the city and resembles the outreach to the community and faces the Chapel of the Blessed. The east and west is the main hall and the main gathering space. The wall color is intended to resemble the stone used in the churches of Rome, and make the “stone box” aspect of the concept true.
PALETTE Once you enter the church, you’re coming in with the natural light that collects in the narthex, and as you continue into the structure, the light spreads around and becomes a “mysterious glow of color fields”, with its complementary color reflected on a lens tinted glass at the same time.
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At night, the light changes. It is the particular time of gatherings for mass at the university and the volumes project light like “beacons shining in all directions out across the campus.� It creates this sense of security and one of self and literal reflection that also exists through the front facing pond.
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In conclusion, Holl used color and light to transform the spatial qualities of a campus chapel. The large color palette is balanced by the use of complementary colors as well as contemporary minimalism and subtly. He uses color as more of a feeling, and less of a visual. One’s mind automatically associates the change of color as you progress through the chapel.
REFERENCES "AD Classics: Chapel of St. Ignatius / Steven Holl Architects." "Inhabitat Interview: 7 Questions with Architect Steven Holl." Inhabitat Sustainable Design Innovation Eco Architecture Green Building INHABITAT INTERVIEW 7 Questions with Architect "Sacred Destinations." Chapel of St. Ignatius. N.p., n.d. Web. 05 July 2015. "STEVEN HOLL ARCHITECTS." - CHAPEL OF ST. IGNATIUS. N.p., n.d. Web. 05 July 2015. "St. Ignatius Chapel." - Architecture of the World. N.p., n.d. Web. 05 July 2015. "Spotlight: Steven Holl." ArchDaily. N.p., 08 Dec. 2014. Web. 05 July 2015.
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BIG FISH
YEAR OF RELEASE: 2003 DIRECTOR: Tim Burton
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FILM
ANALYSIS
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Big Fish is a movie about a father and son relationship that is strained over a lack of separation between what is real and what is fake in the stories that the father tells. The son is now grown up and is trying to figure out who his father truly is as he lies in his death bed. The plot goes through a series of flashbacks as the father continues to tell his tales till his last breath. The back and forth between the stories of the past and current situation is differentiated through color. The past is shown through hazy and grainy colors that were usually over saturated, making the viewer believe that they were not true. However, the present is less contrasted, and usually of lighter tones. The warm and cool tones differentiate between scenes that seemed like they were the truth and as the mystery continues the plot switches between warm and cool, making it hard to distinguish what is the truth. Contrast is used a lot through out the film to direct the view towards a particular object. For example, in the image on the right, Eddie in the only one in a bright red, or any color actually in a town full of neutrals. Another example is the dark fish in the white fog or the pale mermaid in the dark
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One particular scene that leaves mark through out the rest of the movie is how Eddie finds out they way he will die as a young child when he spoke to the witch. The whole scene takes place in the night, so granted there are a lot of darker tones, however the movie adds to this darkness by greying out everything in its surrounding and dressing everyone present in dark hues as well. The witch is dressed in full black with a contrasting white hair that brings the viewer to the eye patch she wears. Even though the scene is meant to be scary to a certain degree, Eddie is not afraid and neither is the audience in part because of the warm undertones that make one feel comfortable with the situation.
SCENE ANALYSIS 20
Black Eye patch Eddie’s clothes Darkness of the night Contributes to eerie environ-
PALETTE Deep Red Curtains Warmer tone to match the yellow and pink over lay Contrast to the Green
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Dark Green The Forrest Witch’s dress Calming color Contrast to the red in the background
REFLECTION I learned a lot about how to look at movies from this assignment. Like any art form, the color palette and arrangement of these design elements are carefully chosen with the intentions of creating a certain effect. When you observe, and not merely look at a painting, you are able to analyze and understand the intent of the artist. This goes the same way for movies. If you know what you are looking at, you can better understand the effects of the choices of colors that usually would have only affected you subconsciously. I guess you can say from that going to the movies is equivalent to walking through an art gallery with the right perspective!
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value contrast: light vs.dark lighter tints, tones, shades for overall majority darker used for emphasis hue balance: warm vs. cool red-green, yellow-violet, orange-blue intensity contrast: bright vs. dull adding grey tones to lower purity of color bottom 1/3 for darker/heavier small amounts of intense color
BALANCE
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movement: solid vs. void, dark vs. light positive for dwelling spaces or negative to pass through repitition + sequencing heirchary assigned to elements that guide wayfinding inspirations musical notes to chords are what colors are to harmony biological forms and colors from what is known to work: nature.
RHYTHM
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RETAIL ANALYSIS
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NIKE
WITH THE SLOGAN “JUST DO IT”, NIKE IS A DESIGNER COMPANY THAT SPECIALIZES IN ATHLETIC WEAR, SHOES AND ACCESSORIES THAT INSPIRE TO MOTIVATE THEIR COSTUMERS. “IF YOU HAVE A BODY, YOU’RE ATHLETIC,”IS HOW THEY PROMOTE GETTING OUT THERE AND ACHIEVING. THEY DESIGN GEAR SPECIAL FOR ALL ACTIVITIES AND TYPE OF CONSUMER, BUT AT THE END THEY STILL STAY TRUE TO THEIR BRAND OF QUALITY AND STYLE. 26
HUE
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Nike is particular about the use of their signature orange color. It is part of their branding for relating the color back towards them always. This is why through out the entirety of the store there is the one orange hue present. It is used to emphasize the lettering on the wall for instance. In comparison to the grey background, the bright orange calls out to viewer. Also, the choice of the orange color is an active, bright and warm color tone that, though in the long run can be overwhelming, in the short and quick turn over of the purchasing in the stores, it creates a lively and adrenaline filled environment. This matches their goal to motivate their costumer to be active.
VALUE A balance to the orange and the most common color used is different shades of grey and of course the black and white contrast. The black balances out the space and acts as an anchor. Meanwhile, the middle grey shade is a calming solid for the eye.
The lighter grey is a more subtle contrast that is also used in the lettering. It is the middle ground between the dominant black and white and the bright orange and grey contrasts.
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The use of lettering on the walls all around the store with different quotes and statics is another emphasis that directs the viewer’s attention and inspires them. It prolongs their visit in the store, and encourages shopping. The metallic poles and lighting also anchors and creates a frame for an otherwise ceiling-less space.
DESIGN FEATURE
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The stone-like texture was used to call the viewer’s attention towards certain section of clothing that had special features. This emphasis is only effective because of its minimal use and contrast to the otherwise smooth appearance of the walls that surround it. In a store full of different items, this texture helps to separate
TEXTURE and categorizes an otherwise lack-luster grey space. It creates a visual movement and balance with this mixture of detailing and dark and light sections, even within this texture.
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The two most important features for Nike is their color orange and their slogan. This is why this these elements are isolated and put into focus. Orange was the only color used in a sea of monotone because there should be no competition with any other color. It is repeated at every touch point for costumers and in maximum use.
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FOCAL
POINT
The slogan is displayed at a larger scale and separated from the lettering along the walls. Where the other walls are crowded with many words in a texture-like manner, the logo is solitary and contrasting in its simplicity.
REFERENCES "NIKE ABOUT US." N.p., n.d. Web. Reed, Ron. Color Design: Transforming Interior Space. New York: Fairchild, 2010.
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Different proportional relationships include the Golden Ratio-where the length is to the width what the sum of the length and width is. Fibonacci Sequence- series where each sequential number is the sum of the previous two.
PROPORTION
+ SCALE
Scale and proportions is a very important aspect of architecture because it defines how we visually perceive something in relation to what surrounds it. Color in this case, can also have a large influence on the architecture and the way we see it. Dark ceilings appear to make the room half the height it actually is, where as lighter ceilings extend. Using similar colors through out a small space can visually expand it.
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UNITY +
HARMONY Harmonizing of analogies using adjacent hues Contrast Harmony used to create excitement Uniform connectedness achieved when similar colors used thorough out. Using neighboring colors to the complement and with the correct number of colors can create an unexpected balance.
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HOSPITALITY
ANALYSIS
SLS Something Lovely’s Started SOUTH BEACH
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1701 Collins Ave, Miami Beach, FL 33139 “a surreal boutique-style luxury hotel ”
Opening date: June 2012 Interiors by: Philippe Starck
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INDOOR SPACES
Mostly white base color with a contrast of deep red and black and an accent of bright pink Overall appearance is very retro-inspired and fun Use of gold framed images of old celebrities and photographs add to “personality� of the space
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Writting in different languages along the columns, walls and ceiling work as a coherent factor between spaces of distance or different function
Line used as interconnecting element throughout. Cultural references made through the different landuages Visual wayfinding through the strategic placement of words Shape through the use of painting and framed photographs. As a background to the back and white foreground. Usually the element that brings a variety of color
LINE
SHAPE
VARIETY
The carpeted floor and curtain/blinds on the windows add the texture that create an additional sensory detail. Rough texture a constrast from the smooth exteriors on the walls and pilars. Pattern created from black and white figures (such as images of books in this case) that balance with the color palette on a whole but still add an extra element for interest. Not adding any other color, they are more of a background element that a fore-ground eye catcher.
TEXTURE
PATTERN
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OUTDOORS
Reflected marble effect on the table tops and ceiling. Harmony created through repeating pattern that carries visual movement. Colors used in small proportions but consistently. Balance of contrast and small amounts of black for an overall lighter outdoor space.
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Personality maintained through mixing of complementary colors and hanging black and white photo frames behind the bar.
SPACES
LINE Cantilevering over-head cover creates a linear visual transition from covered to uncovered spaces. Shapes along the floor at the enterance calls pedestrian attention to the building and is the first touch point to impress. Foreshadows the fun and colorful personality of the hotel.
Transitions between wooden and tiled floors as the functionality of the outdoors moves towards the pool area also alerts the user of this change. It is mostly subconcious for the user.
Abundant use of marble pattern along tables and ceiling. Ties the over all harmony of the space together and adds dimension.
DETAILS
SHAPE
TEXTURE
PATTERN
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CULTURE Study of color symbolism in different countries
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SCOTLAND
INDIA
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INDIA
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PALETTE Red, being the most ostentatious and powerful color, makes it to the top of the color palette for India because of its common use as representing prosperity, purity, fertility and demanding of positive energy. From the tikka placed on the deities to the wedding attire of a bride, red has a very strong connection to the Indian culture. Orange represents wealth and grandeur. The color “saffron,� a color between red and orange is a color of religious enlightenment present in many religious acts and worn by those who dedicate their life to this search for light. Yellow represents sanctity and healing as it relates to the spice Turmeric that is used in every day food and special
Black is seen as color of darkness and evil, but in a positive way, when used in small amounts, is thought as warding off evil. Young children have small black dots placed on their cheeks or behind their eyes to protect them from the evil eye. White is a pure color that represents peace and knowledge but is also worn in mourning as a sign of respect and in hopes of bringing clean vibes to the deceased.
occasions on the body as well. It is known to have anti-septic powers. Green represents nature, harvest and new beginnings and hence is seen as a godly color. It is also a very auspicious color particularly in the eyes of Islam. Blue is a direct analogy to the creator in its relation to the vast skies and oceans. It also represents protection against evil.
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SCOTLAND
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The flag of Scotland, named the Saltire, being used since the 13th century, is a sky blue background with white cross on it. The blue is supposed to symbolize vigilance, truth, and loyalty. The white represents peace and honesty.
PALETTE
Red being the color of fire and intensity, and being described as the only color that gains brilliance the more saturated it is, a color that expands in all directions. Blue is a color of contemplation and spirit. It refers to the skies and heavens, as well as all life and hence motherhood. Green represents nature and luck. Browns are a common tone used through out the architecture and as a neutral tone in clothing as well as a form of balance from extremities. The most traditional pattern that exists in Scotland is the tartan checks that are found on dresses and kilts. They date back to the early Roman, Viking, and Scandinavian invaders who eventually merged their styles to create this particular clothing. Color schemes and arrangements of the stripes on these kilts was an indication of the particular region one came from, or in some cases if more well off, it was specific to a family name.
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REFERENCES "Holi Special: What Do Colours Mean." Zee News. N.p., 04 Mar. 2012. Web. 30 July 2015. Koranki, Susan. "All About Scottish Kilts." Scottish at Heart. N.p., n.d. Web. 30 July 2015. Koranki, Susan. "The Flag Of Scotland - Origins & History Of The Saltire." Scottish At Heart. N.p., n.d. Web. 30 July 2015. "Meaning of Different Colours in Hinduism." Sanskriti Indian Culture. N.p., 23 Feb. 2014. Web. 30 July 2015. Smith, Kate. "India- A Country of Symbolic Colors." Sensational Color. N.p., n.d. Web. Zeldis, Leon. "Heredom | Symbolism of Colors in the AASR." Free Masons- Free Masonary. N.p., n.d. Web. 30 July 2015.
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CONCLUSION
...the end
This course has been very eye opening about the use of color in everything around me. I definitely have become more intent to the color choices of other designers in all mediums. Furthermore, I have begun to think about my own design work in terms of color as explained in the textbook. I’ve realized how important contrast is to develop and fully appreciate a space or art piece. I did not know this prior to this class, and would often shy away from any kind of contrast. I also really enjoyed learning all of the hints and tips to creating certain spatial qualities through the placement of color and of course, the rest of the color palette used side by side with it.
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