Chapter 4
Elements: Light
and Color
Elements: Light and color
• Color is an influential element
of design
• cheering or relaxing, depressing,
distressful
• affect apparent size of a room
• make ceilings seem higher or
lower
• can simulate sunlight
• can speed up recovery in a
healthcare setting
When we talk about color...
• We have to talk first about light
• without light, we cannot see color or any other
elements previously discussed.
• without light reflecting off the surface of an
object, we cannot physically see the color.
• So does color exist in the dark?
NO
• Color is dependent on the element of light.
Technical Definition
• Light is the electromagnetic
energy from the sun or
other celestial bodies, from
fire, from artificial sources
that travel in wavelengths
that range from too long
(infrared) to too short
(ultraviolet) for us to see.
In other words...
• When light hits an object, some of the
colors of light rays are absorbed and others
are reflected. The wavelengths that are
reflected give the object its color.
• White objects reflect almost all the colors in
light, while black objects absorb most of
them.
Example:
•
A lemon
absorbs all
wavelengths
of color
except the
wavelength
yellow. That
is why we see
it as yellow.
If White Objects
 reflect almost all the color wavelengths,
 Then what color do we see if an object
absorbs all color wavelengths?
The color of an object that we see results
from three factors:
 The way in which the object reflects light.
 The kind of light that makes the object
visible. (moonlight, sunlight, light bulb
etc.)
 and the physical condition of the viewer’s
eyes.
Did you know?
 You can actually change colors by changing the color of your
light sources.
 You can use filters, reflectors, diffusers, sheers, and special light
bulbs to alter the colors we see.
 A warm light will intensify red, yellow and orange, but will
neutralize blue and violets.
 Light that is cool and bluish neutralizes red, yellow and orange.
Color Psychology
 You must consider more than aesthetics
 You must understand the importance of light and
color upon people’s physical and psychological
responses to the environment as well as their
health.
 You will need to know what result is desired, how
to achieve it and how to predict its effect.
Three dimensions of color
1. Hue: The name of a color
2. Value: The lightness or darkness of a
color
3. Intensity: its degree of purity or
strength: brightness vs. dullness
Hue – The name of a color
• The simplest and most familiar color
theory is based on the concept that there
are three primary hues that cannot be
produced by mixing any other hue
• Red
• Blue
• Yellow
Primary Hues
• Primary hues cannot be created by mixing
any other color together. Red, yellow and
blue are the three primary hues used to
create all other colors.
• Memorize this color wheel!
Secondary Hue
• Secondary hues stand midway between the
primary colors of which it is the product
• Green between blue and yellow
• Orange between yellow and red
• Violet between blue and red
Tertiary
• Tertiary hues are the colors that stand midway
between a primary and a secondary color. For
example:
•
•
•
•
•
•
•
Yellow-green
Yellow-orange
Red-Orange
Blue-green
Blue-Violet
Red-violet
Note: The primary color is written first.
Background
• The effects of background also lead to
apparent changes in colors.
• Orange placed against a blue background
seems warmer and brighter
• The same orange placed against orange
and yellow seems duller and darker.
Interaction of Hues
• When placed next to each other, colors
produce effects ranging from unity to
decisive contrast.
• Blue, blue-green and green give a restful
unified effect
• Blue and orange produces more excitement
and contrast
Analogous Hues
• Near each other on the color wheel
• Create a unified interior
• Yellow, orange, red
• Blue, blue-green and green
WARM- ANALOGOUS
COOL- ANALOGOUS
Complementary Hues
• These colors lie directly opposite each
other on the color wheel.
• Creates contrast in an interior
• Red and Green
• Yellow and Violet
• Orange and Blue
Monochromatic
• Only one hue is used
Warmth and Coolness of Hues
 All colors have a
“temperature”
 Red, orange and
yellow seem
warm
 Blues and
greens seem
cool
Advancing Colors
 Warm colors: Red, Orange and Yellow
 They are considered advancing because they
seem nearer to us than they actually are.
 Upholstering a piece of furniture in intense red
increases its apparent size
 Painting a wall red will visually make a room
seem smaller, because the color advances.
Advancing color
Receding Colors
 Cool Colors: Blues and Greens
 Reduces the apparent size of objects. On
a piece of furniture, cool colors will make
it appear smaller
 Used on a wall, it will help visually
increase the size of a room
VALUE
 The relative lightness and darkness of a
hue
 Easy to understand when done without
color where it indicates the lightness or
darkness between pure white and pure
black
However
• Value gradations apply equally to colors
and are determined by the amount of light
the colors reflect.
How can a color’s value be made lighter?
 By adding white to the color, which we
call a tint.
 Pink is a tint of Red.
 Tints are very pale, clear and cool.
How can a color’s value be made
darker?
 By adding black to the color, which is
called a shade.
 Maroon is a shade of red.
 Can also be created by adding gray or
brown.
A room composed almost entirely of
light values seems




Bright
Airy
Cheerful
Uplifting
A room consisting of all dark values
brings
• A sense of security
• Solidity
A final word about Value
 In a monochromatic room, value is a key element in
providing transition and avoiding monotony and harshness.
 Value can also affect the apparent size of objects, light
values increase the size because they reflect light and dark
colors reduce the size because they absorb light.
 When perception is concerned, value is the single most
critical characteristic of color. Value contrasts are vital in
distinguishing forms, judging depth and distinguishing
changes in plane, especially for the very young, elderly and
those with limited vision.
Fun Trick
Intensity
 Refers to a colors purity and strength.
 In other words, the degree to which it
differs from gray.
 Example: pink is always red in hue and
light in value, but it can be vivid, almost
pure pink or it can be neutralized or
grayed pink.
Example: pink is always red in hue and light in value, but it can be
vivid, almost pure pink or it can be neutralized or grayed pink.
High Intensity or Strong
Low Intensity or weak
Playing with intensities
If a hue is placed
next to an analogous
color, it will appear
to have a lower
intensity than when
it is placed next to its
complement.
In other words
 If you want to decrease the intensity of a
color, use an analogous scheme, filter the
light (less light), or provide an object that
is more intense such as a painting.
 If you want to increase the intensity of a
color, use a complementary color scheme
and illuminate with bright light.
Color Harmonies
 Planning a color scheme for a room is
one of the fun steps of the design
process.
 As a designer, you will need to know what
happens when colors are combined in
order to produce the desired effects for
your customer.
Two Categories
• Related – harmony and unity
• Monochromatic
• Achromatic
• Analogous
• Contrasting – variety
•
•
•
•
Complementary
Double Complement
Triad
Tetrad
Monochromatic Colors Scheme




Literally one hue is used
Can vary in regard to light and dark
Can vary in intensity
If done right, this room will be unified and
harmonious, however, a major danger is
monotony.
 You must provide variety in other
elements.
Achromatic Color Scheme




Neutral Color Scheme
White, Black, grey
Very low intensities of warms colors
Will need to accent with color in
accessories for visual excitement
Analogous Color Scheme
 Based on two or
more colors with
the same degree
of common hue.
 The interior will
automatically
have some
degree of unity.
Contrasting Color Schemes




Complementary
Double Complement
Triad
Tetrad
Complementary Scheme
 Built on two hues that
are directly opposite
each other on the color
wheel.
 Can be a lively scheme,
but can also be more
subdued when using a
low intensity.
Split Complement
 Composed of three
hues
 Any hue and the two
hues at each side of its
complement.
 Makes the contrast less
violent
 Adds interest and
variety
Yellow, Blue-violet and Red-violet
Double Complement
 Two set of complements
 Usually near each other on the color
wheel
 If too far apart, it is hard to identify and
create a harmonious feeling.
Triad Color Scheme
 Any three hues equidistant from each
other on the color wheel.
 In full intensity, it can be a bit shocking.
 Can translate to:
 Mahogany, French gray and vanilla (red, blue
and yellow)
 Sage Green, Cocoa Brown and dove gray
(Green, orange and violet)
Triad
Orange – Green – Violet
Tetrad
 Any four hues equidistant from each other
on the color wheel
 These schemes can lead to rich, yet
unified interiors.
Factors to Consider in Selecting Colors:
 The reaction to color is highly subjective. You will need
to spend a lot of time with your customer to get a good
feel for their preferences.
 Always get large samples of carpet, paints and
wallcoverings. You cannot make a true judgment from a
small sample.
 Select samples under similar lighting and in the setting it
will be going into.
Cont…
 Increasing the area of a color will change its
apparent hue, value and intensity. For example,
a small paint chip will appear several times
darker when seen on a large wall area because
vertical surfaces receive less direct illumination
than horizontal surfaces.
 Textures will affect color as well. Color appears
brighter on a smooth, shiny surface and is
neutralized on a rough textured surface.
Finally….
When trying to unify an entire house, it is
best not to consider the rooms individually.
A unified color scheme throughout the house
brings harmony and continuity, increases
visual spaciousness and makes it possible to
shift furnishings from one room to another.
Test yourself….
What have you learned about light and color?
End of lecture - color