{"id":1898,"date":"2020-04-19T07:39:21","date_gmt":"2020-04-19T06:39:21","guid":{"rendered":"http:\/\/ihmnotessite.com\/?page_id=1898"},"modified":"2020-04-19T08:30:52","modified_gmt":"2020-04-19T07:30:52","slug":"colour-colour-scheme","status":"publish","type":"page","link":"https:\/\/ihmnotessite.com\/index.php\/home\/hmct-notes\/bhmct-3rd-year\/housekeeping-6th-sem\/colour-colour-scheme\/","title":{"rendered":"COLOUR & COLOUR SCHEME"},"content":{"rendered":"\t\t
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One of the most fascinating tools to work with in decoration is the element of colour. In spite of it being relatively in expensive, it can do wonders. When choosing colours for any establishment it needs to be remembered that there are certain architectural and psychological aspects of colour. Colour can make rooms look larger or smaller, warmer or cooler. It can make bad architectural features seem to fade into the walls, can help in creating a center of interest, and make the room seem unified. Colour affects moods and attitudes. They can be depressing, irritating, disturbing, restful, soothing, stimulating or exciting.<\/span><\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Learning and understanding a few basic guidelines may gain the appreciation and use of colour. Color scheming is an interesting mixture of art and science. Most people will at sometime have and prepare a colour scheme for either business or home. Materials, labor and overheads are expensive, so it is important to be confident in the use of colour, texture and design.<\/span><\/p>

What is colour?<\/strong><\/span><\/p>

\u00a0\u00a0 \u00a0 To scientists it is reflected light which when viewed through prism breaks into visible spectrum. Colour is the impression received by the mind from certain stimulations of the retina. The colours that we see all around us are either imparted to surfaces by dyes or pigments, or are the natural colours of the objects. The surface of any object absorbs all the spectral colours in the light rays that strike it, except the colour we see. This colour is reflected back to our eyes. Surfaces that reflect all the colours in the light rays appear white, whereas surfaces that absorb all the colour of the light appear black. Hence technically black and white are not colours as they are not components of light. But no interior decorator can do without them.<\/span><\/p>

Properties or qualities of colour<\/strong> \u2013<\/span><\/p>

Saturation<\/strong> is the purity of the hue. The colors on the wheel are considered to be in their purest form. As the colors move towards the center, as shown in the graphic at right, they are considered desaturated where no hue dominates.<\/span><\/p>

VALUE<\/strong> \u2013 The lightness or darkness of colour is called value or tone<\/u>. All the colours in the colour wheel can be lightened and darkened by adding white or black to it respectively. Lightening of colour is called tint<\/u> and darkening is called shade<\/u>.<\/span><\/p>

Using of dark colour against light or vice-versa is called contrast<\/u>. Contrast is the juxtaposition of dissimilar elements. Combining shade and tint of the same colour too can create contrast. Colour contrast is necessary for good colour distribution, but if the contrast is sharp, the lightness and darkness will emphasize and exaggerate each other. We see many contrasts around us in nature every day, a white sheep against the green grassy paddock, a luminous orange buoy bobbing about on the blue green sea, a black jagged rock jutting out of a snow covered hill. These are contrasts in color and tone, as well as pattern and texture. A smooth stone pavers set into a green lawn, a brick wall with ivy growing up and over it.<\/span><\/p>

Tone can be used to alter proportions of a room like color. The deeper the tone of color the less light can be reflected from it and this causes the color to appear closer than it really is. The lighter the tone the more light reflection and the color will appear further away. When using a monochromatic scheme, it is essential to vary the tones of the color or the scheme will appear boring and uninteresting, as there is no sense of depth or balance.<\/span><\/p>

Tints seem to increase the size of an object while shades seem to decrease it. So, dark colours would be poor choice for the background of a small room while it would be appropriate as clothing for large people. Tints suggest distance while shades suggest nearness. Hence dark values are used for floorings as they give the room an impression of stability. Black has the power to unify colours and bring harmony into an arrangement where number of bright colours has been used. Where lighter values are used, beautiful effects can be created by keeping the general colour value light and for dark or medium background, general value should also be the same. But the use of close colours if carried out to the extreme can result in monotony. Objects contrasting against the value of the background become silhouetted and call attention. Therefore, very beautiful objects can be placed against a contrasting background while not so beautiful objects should be placed against background matching its own colour.<\/span><\/p>

INTENSITY<\/strong> \u2013 The brightness or dullness of colour is called intensity<\/u>. It is also called chroma or saturation<\/u>. In other words intensity or chroma describes the distance of the colour from gray or neutrality. A bright colour is said to be at its full intensity and may be described as strong, rich, forceful, brilliant, vivid and sharp. When the intensity is offensive, it may be called gaudy, garish or flashy. A colour that is not bright is said to be toned down, subdued, softened, dull weak or drab. Intensity of any colour can be reduced by mixing gray to it, or by mixing the colour that is directly opposite to it in the colour wheel (it\u2019s complimentary colour). Background colours should be somewhat gray or neutralized, as softer intensities are much easier on the eye and are much easier to live with. Pleasant effects can be created by contrasting a few small objects in vivid colours in lesser ratio against this gray background. These decorative items can be moved around for variety. Colour may be emphasized in the following ways: –<\/span><\/p>

  1. Placing it next to its complement colour. Warm and cool colours when placed side by side intensify and complement each other.<\/span><\/li>
  2. By combining the colour with a neutral colour. Black or white emphasizes all the colours.<\/span><\/li>
  3. By repeating near it a large amount of the same hue but in a lower intensity. E.g. Light bright green can be made to look emphatic by surrounding it with dull green.<\/span><\/li><\/ol>

    Colour can be made to appear less intense in the following ways: –<\/span><\/p>

    1. By combining a large amount of a very bright colour with a dull colour. These must be of the same hue.<\/span><\/li>
    2. By combining it with a very dull colour, about the same value but a slightly different hue. E.g. Strong yellowish tone in woodwork can be subdued by painting the walls a pinkish tone.<\/span><\/li><\/ol>

      HUE<\/strong> \u2013 Hue<\/u> is the term used to indicate the name of the colour, such as red, blue, etc. Though the terms \u2018colour\u2019 and \u2018hue\u2019 can be used interchangeably, \u2018colour\u2019 is a more general term. Hue is used more specifically for identification of certain colours.<\/span><\/p>

      Warm and cool hues<\/u> \u2013 Warmth and coolness are attributed to colours because of their association with objects that are warm or cool. Yellow and red seem to warm us as they are the colours of sun and fire. Blue and green suggest coolness due to their association with sky and earth. Warm and cool colours are strangers to each other but have great harmony amongst them. Warm colours are more cheerful and stimulating while cool ones are restful and relaxing.<\/span><\/p>

      Advancing and receding hues<\/u> \u2013 Warm hues seem to advance and cool ones to recede. In interior decoration advancing warm colour makes a room seems smaller, whereas cool, pale colours makes the walls appear to recede and apparently enlarges the room. Intense colours advances more that gray ones. Using a pale cool wall and ceiling color creates the maximum illusion of space. If you add a pale wall-to-wall carpet, you create a greater sense of space again, even more so if the skirting is painted to match the carpet. Walls covered in warm dark colors seem closer and create a cozier atmosphere.<\/span><\/p>

      Heaviness or lightness<\/u> \u2013 According to psychologists all hues have apparent weight \u2013 heavy or light. Blue and purple are the lightest and red and yellow heaviest, with green a little less heavy. When heavy colours are grayed they tend to become light. In interior decoration heavy colours belong to the lower part of the room. Hence desired colours for carpets and floorings are based on red, green or brown. Heavy colours are appropriate for heavy furniture and light ones for smaller furniture. Color changes the apparent size of objects. The colors that look heavy also look small. Red seems to appear the heaviest, followed by orange, blue and green (all of which have a similar weight), then yellow and finally white.<\/span><\/p>

      Texture<\/u> of the surface also plays an important part in the use of colour. This is the visual or tactile surface characteristic of something, be it fabric, timber carpet or glass. Tactile means that it is perceptible by the sense of touch. Every surface has a texture. There are two types of texture \u2013 rough and smooth \u2013 and through using texture; we can create quite different effects. It is important to balance color with texture and pattern to provide a harmonious environment. Combining rough and smooth textures and using these to contrast with each other creates balance. Rough surfaces reflect light in tiny accents and through little shadows that have the effect of dulling the intensity of colour. A smooth and shining surface gives a harsh and glorifying effect. A fabric with a rough weave would appear to be duller than a smooth fabric of the same colour. When using texture you have to be very aware of the absorption\/reflection of light altering the quality of color. Smooth textured surfaces reflect light and rough textured surfaces tend to absorb it. The planning of lighting is always important but especially when using texture as too bright a direct light will flatten out texture and cast little shadow, losing the surface definition. A more indirect lighting scheme will emphasize even subtle textures, and is far more effective.<\/span><\/p>

      Colour balance<\/u> – No matter what your color preferences are, bold or subtle, balance is the most important secret in achieving your desired effect. It is also the most difficult to describe as it comes down to how your eye perceives the space. We have learnt from pattern and texture about scale and proportion; these are major factors in balance. What we are ideally trying to create is a harmonious space and this is achieved because we feel comfortable because we can enter the space and not feel over or under whelmed by what we see. By selecting two or three colors and distributing them around the room in different weights they seem to flow through the room. A one off color will stand out and be the centre of attention, as it does not relate to anything else in the room. If you imagine a room with four walls, if you then painted each wall a different color, there would be no balance. If you painted two opposing walls the same color you have created a balance, or even one wall a different color to the others. But the first example doesn\u2019t let your eyes rest, and makes you feel uneasy, it does not create a pleasing balance. Once colors and fabrics are selected you can move them around to get the balance correct.<\/span><\/p>

      Pattern <\/u>– Size, scale and proportion should be taken into consideration with pattern. A single patterned item can be the focal point of a room that has no special architectural features to highlight, i.e. by using a monochromatic textural scheme of creams, using linens, leathers, rattan chairs, suede walls, simply place a woven woolen rug of geometric design using beiges, creams and a huge dollop of red in the central square in the center of the room with the furniture surrounding it to create a feature\/focal point of the room to great effect.<\/span><\/p>

      Red, Yellow, Green and Blue are regarded as the focal colors of mankind. They are colors that we all first learn to associate with when we are young.<\/span><\/p>

      The value<\/strong> of a hue is determined by adding white to create a tint, black to create a shade or gray to create a tone<\/span><\/p>

      Colour theory or systems –<\/span><\/h1>

      Though various systems have been devised for working with colours, the two famous and most easily understood systems are \u2013<\/span><\/p>