USE OF COLOUR (3RD YEAR) A.O.

Use of colour

The 12-part colour wheel is based on the three primary colours (red, yellow and blue) placed evenly around a circle. 
Between the three primaries are the secondary colours (green, orange and violet), which are mixtures of the two primaries they sit between.
The tertiary colours fall between each primary and secondary. Between yellow and orange, for example, is yellow orange; between blue and violet is blue violet and so on.
All the colours around the outside of the colour wheel are called saturated colours. They contain no black, no white and none of their complimentary or opposite colour.
Compound colours are colours containing a mixture of the three primaries. All the browns, khakis and earth colours are compound colours.
Complimentary colours are those opposite each other in the colour wheel, such as red/ green, blue/ orange and yellow/ violet. Put these colours together and your eyes with almost sting, as these colours are equal in colour value.
A colour triad is a colour taken from 3 sides of the wheel. If this is blue/ yellow/ red you will create a circus, child's room effect, fun, bright and cheerful.
Pick only colours from one part of the colour wheel such as the blues/ purples/ greens you'll get dark effects, watery, night, mystical, relaxing. Choose red/ orange/ yellow and show heat, light, zing, wow factor and stimulation.
Choose two colours side by side from the wheel and one from opposite and you'll get contrast and harmony working well together and the opposite colour balances the other two.

Primary Colours

For rooms that come off feeling strong and solid, a scheme of primary colours -- red, blue, and yellow -- is an ideal choice. Each is a pure colour that can't be created by mixing other hues. Use them in pairs or combine all three; they work equally in country, traditional, and modern rooms.

Secondary Colours

Mixing two primary colours in equal amounts creates a secondary colour --green, orange, and purple. Like all colours, each secondary hue can be tinted with white or shaded with black for variations. If you can't envision a bold orange and green room, think about pairing up their paler tints of peach and sage. The primary and secondary colours illustrate that you can make a compatible triadic scheme by choosing any three colours equidistant on the wheel.

Tertiary Colours

These colours are an equal mix of a primary and its closest secondary colour: blue-green, yellow-green, red-orange, red-purple, and blue-purple. These colours can be combined to give a sophisticated look.

COLOUR HARMONY

Colour is a very potent feature in interior design because it evokes almost immediate response from the eye and can produce both physical and psychological reaction.  Designers can work wonders with colour and colour combinations if they have a good knowledge of colour and its effects. 

A good decorator always combines both value and practicality to evolve a scheme, which will work to the best advantage of the interiors.  Standard colour harmonies are divided into two main groups:

1. Similar or Related Harmonies
2. Contrasting or Complimentary Harmony

SIMILAR OR RELATED HARMONIES:

Selecting colours that are close to each other on the colour wheel produces related harmony. This includes two types of schemes - monochromatic and analogous schemes.

Monochromatic harmony indicates the selection of one colour or hue.  Different values must contrast in a single colour harmony.  This scheme is quite safe, effective, and peaceful in small areas. However, tends to get tiresome and monotonous, if carried out in an entire room.  Additional interest may be created by providing contrasts and combining textures through various surfaces.

Analogous scheme is produced by a combination of adjacent hues that have one hue in common.  The analogous are a combination of primary or secondary colours with two intermediate colours on either side of it.  This scheme is quite restful and shows greater varieties.

CONTRASTING OR COMPLIMENTARY HARMONY:

Combining colours that are opposite to each other and far away on the colour wheel produces complimentary harmony. They should differ in value and intensity. 

This group includes different types:

A.        Complimentary harmony

B.        Double complimentary harmony

C.        Split complimentary harmony

D.        Triad harmony

A.   Complimentary Harmony:

This is obtained by using colours lying opposite each other on the colour wheel e.g. blue and orange with yellow and violet etc.  This type of harmony provides a richer effect of colour than related harmony.  It can be successfully used for rooms, window displays and outdoors.  It should have strong colour intensity.

B.   Double Complimentary Harmony:

In this scheme, two directly adjacent colours and their complimentary colours are used together for a double complimentary harmony e.g. yellow and yellow green with red and red violet.  In using this scheme, the outstanding view should contain the largest amount of colours, that is, the dullest of all the colours.  The next may be a little bright but should be partially neutralised.  The fourth colour, which is used in the least quantity, should have the brightest intensity.

C.   Split Complimentary Harmony:

It is the combination of primary or intermediate colours on either side of the colour wheel; compliment yellow with red violet and blue violet, blue with red orange and yellow orange, red with blue green and yellow green etc.  A true split complimentary scheme is a harmony of similar colours with a note of contrasting colours. The amount of different values and intensities should be adjusted to prevent a shocking effect.

D.   Triad Harmony:

This is a combination of any three colours that form on equilateral triangle on the colour wheel.  It requires careful treatment and can provide the richest and most interesting harmony.  But if not carefully planned, it can have a very irritating effect e.g. red yellow blue orange, violet & green and red violet blue green and yellow orange.

ACCENTED NEUTRAL HARMONY:

It is a harmony in which the largest area of the room will be neutralised with a smaller area in a brighter colour.

FUNCTIONAL CONSIDERATION IN COLOUR HARMONY

The function of the place should be manifested through the colour harmony.  The maintenance availability and cost must be considered.  Light colours are soiled easily and may prove to be more expensive in terms of time and money.  In private areas, it is important to create a personalised colour atmosphere.  In a room shared by many groups, preference should prevail, e.g. restaurants, lobby and other public places. Sub divide a room into the following areas of colour distribution - dominant area (walls, floor and ceilings) medium area (draperies, upholstery, furniture and bed spreads), small furniture (cushions, pillows and table cloths), accent areas (accessories, paintings, lamp shades etc.)

According to the law of chromatic distribution, the largest area should be covered with a neutralised colour.  As the area reduces in size, chromatic intensity may be proportionally increased.

Any two hues may be used if they are at the proper degree of neutralisation.  They should preferably contrast in their values, e.g. like walls and dark floor where the draperies and upholstery are of an intermediate value.

Contrast creates interest; neutral colours are formal while brighter values are more informal.  A neutralised colour appears more neutral in small areas than in larger areas.

EMOTIONAL IMPACT OF COLOUR:

How Colour Affects Mood

Relying strictly on the colour wheel to make decorating decisions leaves an important factor out of the equation: the moods that colours can create. The colours you live with really do influence your emotions. Some palates lighten and brighten your mood while others pacify or purify. We respond to colour with our hearts, not just our heads, so it's important to choose wisely. Understand that colours behave in three basic ways -- active, passive, and neutral -- and you can easily match every room's colours to your personal desires and taste and to the room's purpose.

Active Colours

On the warm side of the colour wheel, active colours include yellow, orange, and red. These advancing, extroverted hues stand out to greet and sometimes dominate. They inspire conversation and an upbeat attitude. Red, the most intense, pumps the adrenaline like no other hue. Small doses of the fire-engine hue wake up an entry or turn up the heat on a hearthside den. Golden or lemony yellows -- good for home offices and kitchens -- unleash creative juices.

Passive Colours

The cool colours -- blue, green, and purple -- will pacify, staying quietly in the background to calm and restore depleted spirits. They're ideal for bedrooms or private retreats, but if yours is a cold climate, you may want to work in some sunny accents for warmth and contrast.

Neutral Colours

Neutralizers are the "uncolors": browns, beiges, greys, whites, and taupe. They neither activate nor pacify but combine and cooperate, bridging together different rooms and colours. They're good transitions on woodwork, trim, hallways, and functional spaces like kitchens and baths, but even living rooms can benefit. Darker neutrals tone down other colours; crisp white intensifies them.

Colour Language

Curious about how colour influences mood? Here are a few examples:

Pink: soothes, acquiesces; promotes affability and affection.

Yellow: expands, cheers; increases energy. It is warm but not over bearing.  Cream and light tans are suitable background colours.

White: purifies, energizes, unifies; in combination, enlivens all other colours.

Black: disciplines, authorizes, strengthens; encourages independence.

Orange: cheers, commands; stimulates appetites, conversation, and charity. Beige and tan are favoured as background colours.

Red: empowers, stimulates, dramatizes, competes; symbolizes passion. It is the strongest of colours and is associated with danger.  When reduced to a tint of pink it losses its intensity and becomes milder and delicate.  As a shade, red may give a warm brown.

Green: balances, normalizes, refreshes; encourages emotional growth. It is associated with nature, health and well-being.   It provides dignity and solidity.

Purple: comforts, spiritualises; creates mystery and draws out intuition.

Blue: relaxes, refreshes, cools; produces tranquil feelings and peaceful moods. It is associated with simplicity, purity, truth and meditation.  It stimulates intellectual activity but in the extreme, it could lead to depression. 

Violet: It is the colour of tension and ambiguity. It represents sensitivity, subtlety and has lavender in playful and magical.  Deep violet should be used with caution.

A combination of colours from the three families i.e. warm, cool and neutral in a correct balance will provide attractive and comfortable interiors.  Colours may also have an advancing or receding effect.   Warm colours tend to appear closer than their actual distance while cool colours tend to have a receding effect. Spaces can be made to seem larger or smaller through choice of colours and shape.  A long narrow space can be made to seem less long and less narrow through the use of warm colours on either ends and cool colours on the sides. A low ceiling will seem less oppressive in light colours where as a high ceiling will appear lower in dark tones.

FUNCTIONAL VALUE OF COLOURS

Colours selection is influenced by climate, orientation activity and preference. In hotels, entrances, lobbies and front desk areas invite the use of strong colours to make a positive first impression.  Lobbies and lounges can have warm colours to support comfort but cooler tones in warm climate.  All the schemes should be generally agreeable to the guest.  Corridors leading to guest room should be given a lively colour treatment.  In bedrooms, intense colour must be avoided on ceilings and large wall areas.  Restaurants may fail by using insensitivity to colour since appetite is influenced by light and colour.  Black, grey, blue and violet should be avoided.