COLOR THEORY RAQUEL RANEY
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WHO ARE YOU? COLOR + THEORY COLOR + DESIGNERS COLOR + PSYCHOLOGY COLOR + BALANCE COLOR + YOUR CAMERA COLOR + RHYTHM COLOR + RETAIL COLOR + [P+S] + [U+ H] COLOR + RENDERING COLOR + HOSPITALITY COLOR + WORKSPACE COLOR + CULTURE CONCLUSION
TABLE OF CONTENTS
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1 WHO ARE YOU?
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HI, I'M RAQUEL RANEY, BORN & RAISED IN SOUTH
MIAMI.
AFTER GRADUATING FROM THE ARIZONA STATE UNIVERSITY COLLEGE OF DESIGN, I STARTED MY OWN STUDIO & HAVE BEEN SELF-EMPLOYED EVER SINCE. I INTERNED FOR THE GREAT APRIL GREIMAN, WON A PRINT DESIGN ANNUAL AWARD & HAVE BEEN PUBLISHED IN A HANDFUL OF BOOKS. I'M ALSO A PINTEREST INFLUENCER, WITH OVER 1 MILLION FOLLOWERS. THANKS TO MY COLOMBIAN MOTHER, I DO SPEAK SPANISH. I THRIVE IN NATURE & THE OCEAN, AS WELL AS IN THE MOVIE THEATRE. 4
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2 COLOR + THEORY
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K B
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ADDITIVE COLOR
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SUBTRACTIVE COLOR
Additive color theory applies to combining the
Subtractive color theory applies to combining the
three primaries of light — red, blue and green.
three primaries of pigment —red, blue and yellow.
COLOR THEORY IS THE STUDY AND PRACTICE OF A SET PRINCIPLES USED TO UNDERSTAND THE RELATIONSHIPS AMONG COLORS. COLOR TRANSFORMS AS LIGHT IS EXPERIENCED. LIGHT AND COLOR TOGETHER ILLUMINATE A SPACE, GUIDE FOCAL POINT AND ATTENTION, AND SET THE MOOD AND EXPRESSION OF THE INTERIOR. COLOR MATERIALS AND LIGHTING TYPES SHOULD BE SELECTED SIMULTANEOUSLY TO CREATE HARMONY WITH THE INTERIOR.
REFERENCES / REED, RON COLOR DESIGN: TRANSFORMING INTERIOR SPACE 8
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3 COLOR + DESIGNERS
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LUIS BARRAGÁN HOUSE + STUDIO
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BIOGRAPHY Born in Guadalajara, Mexico in 1902, Luis Barragán was educated as an engineer. After graduating from the Escuela Libre de Ingenieros in 1923, he spent time in Europe and became inspired by the writings and gardens of Ferdinand Bac. It was on this trip where his interest in landscape architecture began. Never formerly trained as an architect, he is widely recognized for his emphasis on color, light, shadow, form and texture. In 1980 he won the Pritzker Prize.
Painting by Ferdinand Bac
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Achromatic Colors
The only real differentiator was the height of the walls
THE FACร DE In 1947 Barragรกn built his home in the working class neighborhood of Tacubaya. The achromatic exterior humbly blends in with the neighbors with no real architectural presence, a mystery that keeps secret what is hidden behind its facรกde. His home became a laboratory for self expression and exploration. Here he experimented with formal solutions, colors and various furniture layouts.
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THE REVEAL The house is divided into two levels, with a vast double-height living-room and low wall partitions. There is a clear transition from city life to the tranquil harmony that Barragán was always searching for as you enter through the dimly lit foyer. Yellow colored glass illuminates the bare, white washed walls followed by a brilliant surprise — a bright pink wall. Barragán's home, a continuous discovery.
Complimentary Colors 15
LIGHT Light is as important as color for BarragĂĄn. He carefully studied transitions from areas of shadow to contrasting zones of diffused lighting. Light interacts with the colors and how they are perceived depending on the time of day. Colors transform a space by blending light with its shadows and reflections. A golden Goeritz painting is illuminated by natural overhead lighting while the volcanic stone rises from the ground creating great contrast to the overall space yet feeling intuitively balanced.
I think that the ideal space must contain elements of magic, serenity, sorcery and mystery. — Luis Barragån
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NATURE Barragรกn often called himself a landscape architect because he placed as much emphasis on the exterior and surroundings of a building as he did on the interior. The play of privacy and visibility are seen throughout the front and back halves of the house. The living room is one with the garden through a massive window. The daily objects were made of wood and leather versus harsh industrial materials that complimented the subdued, monochromatic base palette found through out his work. The contrast of the natural and bright festive colors against white was a constant theme for Barragรกn.
Monochromatic Base Colors
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SERENITY His desire for peace and tranquility was rooted in his devout Catholicism and his admiration for the meditative settings that he found in Mexican churches and convents. Free of clutter and meticulously planned out, Barragรกn treated his home as a spiritual refuge. The warm white planes of color emphasize purity and gives clarity.
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COLOR His use of color is based on the vibrant colors of traditional Mexico. The culture flare is apparent in the bold pink and yellow walls — shades of "allegria" (joy). For Barragán the walls, color and light was a form of art and beauty, pulling from the emotional side of architecture. Barragán credits Jesús Reyes and Miguel and Rosa Covarrubias for their influence in color. Interestingly the color selection is more of an intuitive process, based on experimentation of the constructed space.
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CONCLUSION Barragán's architectural style is rooted in modernism and tradition, two contrasting styles that he gracefully blends together. Favoring the humanistic characteristics of Mexico’s provincial architecture over the machine-driven culture found in modernism, the geometric forms are diluted by the use of raw materials.
Barragán, who never constructed anything outside of Mexico, became well-known after the Museum of Modern Art in New York held a retrospective of his work in 1976. Its no surprise that prior to all of this acknowledgment, Josef Albers already had a positive opinion of him. Barragán lived in the house until his death in 1988. The house became one of UNESCO's World Heritage sites in 2004. 20
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SOURCES http://www.archdaily.com
http://whc.unesco.org
AD Classics: Casa Barragán
Luis Barragán House and Studio
by Megan Sveiven January, 10 2011
Minimalist Architecture by Franco Bertoni
Video: Luis Barragán by Karissa Rosenfield
The Architecture of Luis Barragán by Emilio Ambasz
Spotlight: Luis Barragán by Begoña Uribe
Barragán: The Complete Works Edited by Raul Rispa
http://www2.ljworld.com Mexican Architect’s Home
Luis Barragán: His House
Becomes World Heritage Site
By Daniel Garza Usabiaga,
By Fiona Smith
Juan Palomar, Alfonso Alfaro
September 5, 2004
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4 COLOR + PSYCHOLOGY
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A SPIKE JONES LOVE STORY
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SUMMARY A lonely writer, Theodore Twombly (Joaquin Phoenix) is in the final stages of his divorce; heartbroken. Theodore quickly finds himself falling in love with his R 234 G 214 B 187
computer's highly advanced operating system, Samantha (Scarlett Johansson), personified through her bright, female voice.
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Theodore struggles with feelings of both great joy and doubt while exploring the evolving nature —and the risks—of intimacy in the modern world.
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A warm, natural color palette with the lack of a complimentary color in this scene represents Theodore's melancholy; seamlessly blending into his surroundings, R 44 G 27 B 7
going unnoticed.
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Theodore is a creative and talented individual; his vibrant workplace anchors his life and represents his strengths — the one constant in his life. Color balance is achieved in the office by the size of the colors in relation to one another and the amount of white space needed to keep the harmonious feeling. The different values of red work well with the complimentary green and touches of teal and yellow.
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The predominant color through out the movie is red. Red is associated with courage, acceptance and love; fitting for Theodore and Samantha's experimental love connection. Hoyte van Hoytema, the director of photography deliberately eliminated the color blue in order to create a warm and soulful environment. Science-fiction and technology are often associated with blue but by sticking with the warm color scheme they were able to tap into the viewers emotions.
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The warm and neutral color palette represent a safe environment for Theodore in which he spends time with a close friend whom accepts his relationship with an OS. The peach-pink color is an analogous tone to red which represents love, hinting towards the beginning of a romantic relationship. Eventually Amy is seen wearing red — the first character to do so outside of Theodore.
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FINDINGS The retro color palette throughout the movie made the future feel not so distant, relatable; a techy future where romance still exists. The truth is that an overly technological future intimidates me but this film was able to present the concept in a humanistic way — ultimately R 210 G 81 B 42
we as humans will always have emotions. The color palette always feel united, with a specific and consistent identity through out the film creating a personality all of its own. A wide range of the color
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spectrum is seen through out the film but always with a controlled flow, keeping within the overall cohesive aesthetic.
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Green is the warmest of the cool colors, it represents growth and renewal and is regarded as the most natural color. Asymmetrical balance is achieved in this scene by the bright, complimentary red against the large field of R 44 G 27 B 7
green grass — both appearing to hold the same visual weight.
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5 COLOR + BALANCE
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ASYMMETRICAL BALANCE Two different shapes and sizes are made to appear that they have the same visual weight by assigning the perceived lighter hue to the larger square shape to balance the smaller darker circle.
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BALANCE REFERS TO THE RELATIONSHIP OF DIFFERENT HUES TO ONE ANOTHER WHEN EACH IS PERCEIVED TO BE EQUAL IN PERCEIVED VISUAL WEIGHT. BALANCE CAN BE ACHIEVED THROUGH COLOR APPLICATION: VALUE CONTRAST (LIGHT/DARK), HUE BALANCE (COMPLEMENTS), INTENSITY CONTRAST (BRIGHT/ DULL), SIZE OF COLOR AREA (LARGE/SMALL).
REFERENCES / REED, RON COLOR DESIGN: TRANSFORMING INTERIOR SPACE 40
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6 COLOR + YOUR CAMERA
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PHOTOGRAPHS OF COLOR OBSERVATIONS FOUND IN CLASSIC MIAMI ARCHITECTURE, IN CONTRAST TO OVERLOOKED COLOR IN OUR EVERYDAY LIVES. 44
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7 COLOR + RHYTHM
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REPETITION BY SIMILARITY IN SHAPE AND HUE
COLOR ALTERATION OF LIGHT AND DARK CONTRAST
PROGRESSION USING VALUE FROM LIGHT TO DARK
COLOR CONTINUITY BY USING THE SIMILAR HUE TO CONNECT DISSIMILAR ELEMENTS.
RADIATION USES A CONCENTRIC COLOR ARRANGEMENT TO UNIFY DESIGN ELEMENTS.
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RHYTHM IS A NATURAL EVOLUTIONARY TRAIT IN NATURE THAT CAN BE TRANSFERRED TO INTERIOR SPACES AND CAN BE FURTHER EMPHASIZED WITH COLOR. RHYTHM + COLOR CAN BE USED TO CREATE FIVE TYPES OF VISUAL EFFECTS: REPETITION, ALTERNATION, PROGRESSION, CONTINUATION + RADIATION. THE STRONGER THE CONTRAST OF COLOR, THE STRONGER THE COLOR RHYTHM. THE WEAKER THE CONTRAST OF COLOR, THE WEAKER THE COLOR RHYTHM.
REFERENCES / REED, RON COLOR DESIGN: TRANSFORMING INTERIOR SPACE 66
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8 COLOR + RETAIL
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COLOR + EMPHASIS: RETAIL The Louis Vuitton Flagship Store in the Design District was designed by an inhouse team in collaboration with Japanese architects Jun Aoki and Mirei Uchibe. The exterior façade features cut out aluminum in the brand’s Damier pattern. In contrast to the futuristic, machine like exterior the interior pays tribute to Miami's beachy Art Deco and mid-century modern roots.
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CONTRAST OF HUE Traditionally, high-end fashion interiors are stark white; putting all of the emphasis on the product, creating high contrast against the interior; often, sterile and intimidating. The peach planes of the Louis Vuitton store invite you in, an anomaly to the standard flagship. The choice of the warm peach is a versatile color choice for the various products, creating analogous, split complimentary and achromatic color schemes through out the space.
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CONTRAST OF TEXTURE There were endless applications of texture contrast through out the store that further assist in creating that inviting, home-like environment not too often found in high end stores. Various lounge areas are clustered about the 4-story building; featuring a cozy textured rug paired against the smooth, wood flooring with some form of Danish Modern furniture. In the above photo, the LV embossed book strategically placed on the porous stone adds further intrigue to the seating area. The most interesting use of texture was the grooved veneer that seamlessly mimics the classic Epi leather, in contrast to the smooth camel-colored 'belts' that 'support' the shelves.
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FOCAL POINT Planes of color lead you through the space from the moment you walk in. The most impressive example of this is a 36-foot bright blue glass-and-mirror piece created by Florida native Teresita Fernandez. You can't help but robotically walk up the stairs as it pulls you in. I was subliminally aware of the color but ultimately it was in charge, like a mosquito headed towards a bright light. The power of color is truly remarkable.
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CONTRAST OF VALUE
The contrast of bright to dim light throughout the space plays a role in highlighting and adding emphasis to the product against
Contrast of value was also used to guide you through the space. The stair case
the otherwise relaxed environment.
utilizes bronze and leather handrails that standout against the white textured wall, creating a strong linear shape that leads your eyes upwards to the next floor. Had the handrails been white, they might not disrupt the space as much, but in this instance the disruption serves a purpose. 74
CONTRAST OF DESIGN FEATURE As you make your way up the stairs towards the blue work of art and turn the corner you are surprised by a tall display of rainbow colored luggage tags. Emphasis is created through both contrast of shape and color, ultimately revealing the option to personalize your very own Louis Vuitton purchase. The feminine light fixtures dance above the large masculine wooden sewing table, showing additional contrast. There is also antique luggage displayed along the wall, showing the contrast between new and old, letting customers know their investment will last a lifetime.
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FOCAL POINT
CONTRAST OF VALUE
CONTRAST OF HUE
CONTRAST OF TEXTURE
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CONTRAST OF DESIGN FEATURE At night, a dramatic effect is created with LED lights shining through the cut out aluminum creating contrast and movement along the architectural exterior of the building.
Sources http://www.architecturaldigest.com/story/louis-vuitton-miami-store Exterior Photography http://stephanemuratet.com/
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9 COLOR + [PROPORTION + SCALE] + [UNITY + HARMONY]
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FIBONACCI SEQUENCE
GOLDEN SECTION
LE MODULAR USING A GRID PROVIDES A JUSTIFICATION & REASONING BEHIND YOUR COLOR DESIGN DECISIONS.
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PROPORTION IS DEFINED 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 SPACE.
COLOR PALETTES CAN CONTAIN FROM ONE TO FIVE COLORS. LIMITING THE NUMBER OF COLORS IN AN INTERIOR SPACE IS CRUCIAL FOR ACHIEVING BALANCE AND A UNIFIED COMPOSITION.
REFERENCES / REED, RON COLOR DESIGN: TRANSFORMING INTERIOR SPACE 82
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10 COLOR + RENDERING
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SPLIT-COMPLEMENTARY
This is an abstract crop of an Art Deco building on South Beach. The owner of this building is in the process of testing out paint colors that 'fit' within the pastel, Art Deco color scheme originally created by Leonard Horowitz to bring life back into the buildings after the Great Depression. He created a pastel color palette pulling inspiration from the sun and the sky and the seas and the beaches. He is quoted as comparing the process to 'frosting a cake' in the film Pastel Paradise.
Toning down the passion of RED with the purity of white results in the softer pinks that can be associated with happiness and is sometimes seen as lighthearted.
GREEN stands for balance, nature, spring and rebirth. It's the symbol of prosperity, freshness and progress.
ACCENT
SECONDARY
DOMINANT
YELLOW shines with optimism, enlightenment and happiness. Yellow has the ability to spark creative thoughts. www.wlrn.org — The Man Behind All Those South Beach Pastels www. sensationalcolor.com
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I chose the harmonious combination of a split-complementary color scheme for the interior space. The soft floral pink found in the rose wood floors creates a comfortable balance alongside the varying shades of green. The green, natural tones and vibrant pops of accenting yellow create subtle movement without being too overwhelming. I wanted the space to embody warmth, while inviting visitors to relax in a minimal space. It was also important that the space feel quirky and fun as well as unpretentious. I followed the 60-30-10 rule, with the pink tint being the dominant color, the green as a secondary color and the mustard yellow as the accent color.
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Over all I was pleased with the final outcome of my space — all be it sort of strange. Having the 60-30-10 formula as a starting point was really helpful. Pink and green together have always reminded me of preppy golf attire (in a fun way) and it was a neat challenge to see how this color palette could translate into a physical space. I did a few quick sketches prior to going straight into the rending and that was helpful with choosing where to distribute the colors and where I wanted the focus to be. The bright yellow Alsbersesque pillow was initially supposed to be more of a focal point. Also, I felt that I successfully used the rose pink in a gender neutral way.
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11 COLOR + HOSPITALITY
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COLOR + VARIETY
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ANALYSIS Formerly, the historic Seville Beach Hotel, designed by Miami Modern master Melvin Grossman in 1955, and redesigned by the International Design firm Yabu Pushelberg, The Edition Hotel is a successful combination of retro and luxurious design. The redesign captures the spirit of the Sixties and respectfully preserves the original architectural details, while toning down the excess of the era and neighborhood — ultimately offering a stylish retreat in a elegant setting. 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 SPACE.
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THE LOBBY A vast space furnished with soft, natural materials in a neutral color palette of creams, wheat tones and linen, provide an overall lightness to the space. The contrast of white, juxtaposed against the original black and white marble floors adds emphasis without the use of chromatic hues. The original, vertical gilded mosaic columns give a sense of perceived strength while further accentuating the height of the lobby. Clustered in a linear composition, the repetition of the columns add a visual break to the space. The tactile quality of the surface of the columns, combined with the smooth walls and ceilings provide the sensory and visual contrast needed keep the space alive. Leafy green palms accent the lobby, paying homage to the original tropical glamour of the Sixties. The trees guide you through the massive space, while simultaneously dividing it up into cozy seating areas.
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MATADOR ROOM The curved lines from the coved lighting in both the bar and
wall covering and draperies in both the rooms add to the variety of
dining areas of the Matador Room are fluid and inviting against
the design providing the sensory and visual contrast. The concept
the dimly lit, masculine, dark wood environment. The dining room
of the Matador is further demonstrated with the flowing, uniform
is in the original oval shape which enables the eye to travel around
cape-like drapery that creates textural contrast against the smooth
freely. A circular shape, reminiscent of a bullfighting ring creates a
wood floors.
calming softness that envelopes the interior seating. The choice of
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www.knstrct.com — Miami's Vice: Edition Hotel by Yabu Pushelberg www.southbeachmagazine.com — Miami Beach Edition Hotel www.editionhotels.com/miami-beach www.thealexanderteam.com/edition www.yabupushelberg.com Color + Variety. Color design: Transforming interior space
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12 COLOR + WORKPLACE
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RIGI DESIGN
COLOR + VARIETY
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RIGI design has evolved into a comprehensive design team covering brand, space, visualization and product. With the growth of the studio, the founder, Kai Liu and his design team, created a space that accommodates and conveys RIGI’s unique style. The site is a former factory — a standard rectangular space with natural lighting from one side.
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After accessing the functional requirements of the multidisciplinary team, the space is divided into an open air office, an independent office, lab area, a meeting room, a material room and a small show room. Through the weaving of different spaces, a complicated, yet simple office is built.
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The choice of the warm, natural wood and live plants blend emotional, humanistic qualities with the pure and frank attitudes of the stark, achromatic planes and strong linear elements, creating a harmonious dance between materials and space. Instead of a pure blue, varying tints are introduced, evoking a sense of calm happiness; taking the palette from achromatic to monochromatic, adding additional variety.
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The most basic shapes such as a triangle or square are predominant and powerful, adding visual stimuli. The use of soft dark gray felts for wall coverings convey a feeling of intimacy, with a rich, textural quality. The exposed ceilings further emphasize the openness and interconnectivity of the different functional zones, while the masses float in space, creating a visual rhythm. Controlled arrangements of patterns randomly peak out with out overwhelming the senses and taking away from the minimalistic energy of the space. Graphical typography add a second dimension to the space. Variety is a powerful design tool for adding interest, contrast and life to a space.
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Overall, this is a purely honest work environment without complicated elements. The delicate balance of soft, natural elements layered against black and white paint in the open space becomes friendly and lively — a spacious vessel that comes to life when people are creating in it. Better Design, Better Life.
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“There are no boundaries for design, and the world is multidimensional, thus design does not belong to only one category.” — Kai Liu Photography: Jack Wen www.archdaily.com LK+RIGIdesign Office www.offficesnapshots.com RIGI Design Offices Color + Design: Transforming Interior Space / Ron Reed
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13 COLOR + CULTURE
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COLOMBIA+ GERMANY 112
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The Colombian flag features three horizontal bands of yellow (double-width), blue and red. The Yellow symbolizes all the gold found in the Colombian land. The blue symbolizes the seas on Colombia's shores, the rivers that run through, and the sky above. And the red symbolizes the blood spilled for Colombia's independence. Vivacious, vibrant and ever changing; Colombia is a country full of excitement and wonder. With it’s rich ancient history there are rhythms, traditions, festivals and cultures. The biodiversity, it the richest on the planet — a country of extreme landscape and climate contrasts with white snow-caped mountains, lush green tropical rainforest's, grassy plains and warm beaches with coasts in the Caribbean Sea and Atlantic Ocean. The carnivals, the River of Five Colors and the birds of the Amazon Rain Forest all provide a literal rainbow of colors. Gold was abundant and used to make ornaments inspired by nature and the supernatural. A large percentage of Colombians earn a living from the country’s vibrant arts and crafts sector. Blues, yellows, reds, greens and oranges collide together in both historic and residential buildings.
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Interestingly, the German flag is similar to the Colombian flag, featuring horizontal bands displaying the national colors of black, red and gold and signify the unity of the German nation. Black, red and gold colors have played an important role in German history and can be traced back to the medieval banner of the Holy Roman Emperor. In Germany, bright primary colors are rare in everyday life as people do not want to stand out. The focus remains on the clear and stable values of grey, black and white, mixed with color contrasts – a strict color palette that yields good design. Efficiency, tidiness, organization, and clarity are strong German values. German’s strive for security through perfection, predictability and consistency. Shades of beige, green and grey represent materials and therefore are accepted by the German people. Grey relates to purism, design and concrete. White symbolizes marriage and innocence. Green symbolizes ecology, health and positivity. Yellow is a warning color. Black is a symbol of death and business. Red symbolizes energy and eroticism. “The English “to feel blue” has no equivalent in other languages while in German “blau sein” (literally: to be blue) means to be drunk. Idiomatic expressions therefore create a different map of colour meanings in every language, thus modifying perception.” Global Propaganda.
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I now realize how little I know about my actual background. My mother is Colombian and my fathers comes from a German lineage — two contrasting cultures, all mixed together with my American upbringing. I am a very disciplined designer and on the other hand a true free spirit; two very different extremes. I am working on finding that sweet middle ground as it relates to my design process where I can blend the functional with the burst of unexpected.
SOURCES http://globalpropaganda.com/articles/TranslatingColours.pdf http://www.huffingtonpost.com/ The Colors of Colombia https://wilddesign.info/ GERMANY / COLORS AND SYMBOLS https://en.wikipedia.org/wiki/Flag_of_Germany https://en.wikipedia.org/wiki/Flag_of_Colombia
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14 CONCLUSION
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SOURCES ALL CHAPTER PAGE IMAGES AND COVER IMAGES BELONG TO HTTP://MINKMGMT.COM/ AND HAVE BEEN INCLUDED FOR EDUCATIONAL PURPOSES ONLY
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THIS COURSE GAVE ME A THOROUGH INTRODUCTION TO HOW COLOR CAN BE USED IN CONJUNCTION WITH THE PRINCIPLES OF DESIGN.
LEARNING HOW COLOR HAS THE ABILITY TO CONTROL OUR EMOTIONS AND GUIDE US THROUGH SPACE IS TRULY FASCINATING. HAVING SOME RULES AND FORMULAS TO FOLLOW IN ORDER TO ACHIEVE HARMONIOUS DESIGN SOLUTIONS IS AN AMAZING TOOL, THAT WILL GUIDE ME THROUGH MY PRACTICE FROM HERE ON OUT.
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