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1 COLOUR AND THE DECORATIVE ARTS Throughout history colour has been used to enhance the quality of architecture and interior design. The Greeks coloured their temples with ceramics extensively using blue, gold and ochre. Their interiors were brightly decorated with colourful frescoes of a secular nature. The Romans adopted the Greeks' use of colour externally and internally using bronze, marble and brightly coloured intricately arranged mosaics on floors and walls and trompe de l oeil wall paintings as decorative features contrary to the fact that many decorators regard this as a contemporary decorative innovation. The more affluent Byzantine, Islamic and Gothic interiors employed glowing exterior and interior colour combinations using mosaics and glass decoration creating a jewel like richness on their walls and furniture using rich tapestries and drapes for warmth around four poster beds and in doorways. Historically colour used was a reflection of the times and spirit. In Modern Movement buildings colour was considered unnecessary as it may conflict with the beauty of natural building products such as stone and timber and light used extensively at that time. This attitude still exists today by some but it is currently well recognized that natural products and light in architecture may be enhanced by the subtle use of colour. Contemporary 20 th Century architects such as Frank Lloyd Wright and Jean- Philippe Lenclos were influenced by nature for their architectural colour solutions although Wright used natural products such as woods and stone and to a degree, rejected the use of paint. The 20 th century Swiss-French architect Le Corbusier however had a passion for architecture and colour integration and used strong value, high intensity colour schemes in much of his work such as primary red, blue and yellow. As with all marketing, colour-marketing strategies are designed to prompt change in interior design and fashion trends but colour qualities and the psychological effects of colour never change. During and following the Renaissance natural colours of reduced chroma or intensity were preferred to those of earlier centuries. Blue, purple, red and gold were used to signify royal, religious and social stature but considered sensuous, impious and vulgar during the COLOUR AND LIGHT To use colour wisely we must have some basic knowledge of its physical structure and properties. Colour is a property of light caused by wavelengths that the eye recognizes and the brain interprets, therefore light Reformation of Christianity. and colour are inseparable. 1

2 Colour and light are major factors in natural and man-made environments and can influence man's psychological reactions and physiological balance and well-being. LIGHT COLOUR When sunlight is passed through a prism the light is refracted into the spectrum of light colours. Headaches, nervousness, lack of concentration, inefficiency, bad moods, visual problems, anxiety and stress are usually blamed on everything except a guilty environment. Intelligent use of colour, light and interior design can have a profound effect on man s perception of form and space and it is from this perspective that the following information has been compiled. COLOUR BASICS There are two types of colour recognizable to the human eye; light colour and pigment colour. For interior design purposes we should familiarize ourselves with both types. SUNLIGHT OR FULL SPECTRUM LIGHT Without sunlight, colour ceases to exist. Therefore by reducing light on an object or into a space the colour of the object or space becomes duller or tonal, more neutral. Eliminating all light from an object or space renders the object or space colourless or grey/black. Many oppressive interiors may be substantially improved by the introduction of natural light or increase of artificial light. Sunlight is made up of all light colours ranging from ultra violet, violet, indigo, blue, green, yellow, orange, red and infrared as demonstrated above. The eye absorbs sunlight stimulating the light sensitive eye rods and cones resulting in brain activation. Eye rods react to tone (black and white) and movement whilst eye cones react to colour and detail. Nocturnal animals such as owls and possums see predominantly with rods, therefore activity is usually at night whereas man sees predominantly with cones subsequently, most activity is during the day. Animals and man may see with either cones or rods when the eye is given time to adapt. The infiltration of daylight through the eye is assimilated into energy which is 2

3 distributed throughout the body regulating the body's hormonal activity. Although the amount of sunlight required by humans on a daily basis may differ from person to person it is commonly regarded that sunlight is essential for a healthy mind and body and sense of well-being. It is well known that unhealthy living environments may be the result of inadequately illuminated or over illuminated living and external spaces. Colonial settlement in Australia saw the development of the Colonial House being Georgian in plan surrounded with wide verandahs. This was commonly regarded as a cooling element but the down side of the added verandah was inadequate interior illumination. An early Australian cottage with verandah The verandah is now regarded as an unnecessary expense by many builders who design and build homes to a minimum budget facilitated by the promotion of styles such as Tuscan not having eaves or verandahs thus reducing building costs. Following occupation of these homes, owners find themselves adding airconditioning, internal and external window treatments, window tinting and ceiling fans in a desperate attempt to survive the hot summer months. PIGMENT COLOUR In the early 20 th Century, much research was carried out by artists on the technical properties of colour and scientists on the physio-psychological affects of colour and light. Their findings are now often used for colour therapy for depression, product marketing, safety issues and architecture and interior design. Natural pigment colour is manufactured from materials such as minerals, stone, clays, insects, vegetables, seeds, flowers or anything that can be crushed extracting natural dye. Artificial pigments are man made from organic materials which are then chemically enhanced to strengthen the pigment If we eliminate all light within a room we eliminate colour thus seeing tone and movement (black and white). The reintroduction of light facilitates the reflection of colour. The colour we see is the absorption of certain light wave lengths and the reflection of others from a surface or objects. When the eye sees blue it is actually seeing the reflection of the blue wave length and the absorption of all other colour waves. Visual perception of pigment colour may be influenced by the change in 3

4 colour value (lightness or darkness) or adjacent and surrounding colours. Following is a demonstration of how colours influence other colours surrounding them. The red squares are identical however the surrounding colours have a profound impact on our visual perception of each red square. Primary Colours Red, Blue and Yellow Secondary colours being orange, purple and green are mixed by adding equal quantities of two primaries. THE PROPERTIES OF PIGMENT COLOUR Secondary colours are subtle and elegant compared to primary colours. Secondary colours are more suitable for the middle aged, elegant interior design situations such as hotels and professional offices being less energetic than primary pigments. Pigment colours are described by their composition and properties reflecting colour wave lengths as follows: - Primary colours being red, blue and yellow are pure pigment colours and cannot be mixed by using other pigments. Primary colours are strong, energetic, and playful prompting activity and are excellent colours for the very young in small quantities such as mobiles, wall paintings and brightly coloured furnishings, however when used in large quantities they can be overwhelming and aggressive. Primary and Secondary colours Orange, green and purple 4

5 Tertiary colours being red orange, red purple, blue purple, blue green, yellow green, orange yellow are mixed by adding equal quantities of a primary and secondary. Colour chroma can be dulled by mixing grey (black or white) or its complement being the colour directly opposite on the colour wheel. Colour intensity can be enhanced by placing the complimentary either under (if translucent) or adjacent to the colour. Example - Red (add % green) - Blue (add % orange) -Yellow (add % purple) Primary, secondary and tertiary colours. The Colour Wheel Pigment colour has property as follows:- 1. Hue- colour being red, orange, yellow, blue, green, purple; 2. Temperature - warmth or coolness. Red, orange and yellow are regarded as warm (colours of fire) and blue, green and purple as cool (colours of nature); 3. Value- lightness or darkness determined by the addition of black (tone) or white (tint) or another hue (shade); and 4. Intensity or chroma, brightness or dullness increased by the addition of the same hue or decreased by the addition of the opposite hue, black or neutral. Chroma or intensity is at its fullest in Shade and value can create a multitude of effects. Tones of colour provide a sense of elegance, maturity, serenity and coolness but overused may be oppressive. Tints (the addition of white) on the other hand create a sense of freshness, cleanliness and youthfulness but overused become obvious, loud and obnoxious. COLOUR ENERGY The human eye sees colour in energy wavelengths. Red and green more so than any other colours placed together will appear brighter and more intense than in any other context and when used in equally proportioned stripes become kinetic (visual energy). Colour kinetics can often produce anxiety and dizziness as the eye finds difficulty in focusing. Kinetic energy is often apparent on television when striped fabrics of complimentary colours are transmitted. primary colour. 5

6 To stabilize colour energy the proportions used must be disproportionate such as 90% to 10% or 40% to 60% with a colour tint for the larger proportion and colour tone or intensity for the smaller proportion. as down pipes, gutters or window frames will become insignificant if painted darker against a dark wall but may be more emphasized when contrasting a lighter coloured wall as indicated in the following illustrations. COLOUR AND ITS IMPACT ON SPACE AND FORM To maximize the use of interior and exterior colour we need to understand how it works. Colour has advancing and receding qualities because of slight muscular reactions in our eyes as they focus to different colour wave lengths. Warm colours appear to be closer whereas cool colours seem to recede. We can manipulate the visual perception of space by using a variety of colour to compensate for spatial inadequacies. Less emphasis More emphasis To emphasize building components such as doors or fences, a high value tint or white paint is required. An example I often use when consulting is demonstrated below:- A wall will appear to be closer and larger to the viewer if painted in a warm light colour such as a tint of red and further away from the viewer if painted in a cooler less reflective colour such as a tone of green. Forms and furniture may be emphasized by painting or upholstering them in a vibrant warm colour but may appear to be somewhat larger than in reality, which may not be the intention of the upholsterer. Likewise objects painted or upholstered in darker, cooler colours may appear smaller or deemphasized. Bearing the aforementioned in mind, Paint the fence white and see the fence, paint the fence black and see the house. SELECTING PAINT If your chosen colour is unobtainable over the counter or you wish to dabble, unwanted building components such a professional painter will undoubtedly 6

7 be able to mix many combinations on request. Off-the-shelf or pre-mixed paint colour may be a more practical economical solution in the long run as the colour can be more accurate and consistent if required in the future for colour matching. Viewing selected paint samples over existing colours may be dangerous and could have an impact on your perception of the selected colour sample. Ask the painter to apply several colour samples in different lights on wall and ceiling surfaces and review the samples over 24 hours. Once approved, it is recommended that the first coat be applied to the entire room and lived with for several days. This allows the occupier/s to adjust to the new colour in daylight and nightlight and allows for fine-tuning of tint or tone if necessary. Once satisfied, the second coat may then be applied. Using the above procedure will eliminate expensive repainting exercises should the occupier/s be dissatisfied and if all the paint has been acquired, thus saving perhaps hundreds of dollars and time. that all paint and workmanship guarantees are in writing confirming that the supplied paint is best quality fully washable unless otherwise specified. COLOUR SCHEMES 1. Monochromatic schemes are one colour only with a variety of value and chroma and can be primary, secondary or triadic colours. This scheme is restful and harmonious but can become tedious and static with time. A successful monochromatic colour scheme can include a variety of textures for walls, fabrics and floors, artificial light sources such as overhead, spot and lamps of various lighting types, and textile patterns including stripes, geometrics and floral to relieve monotony. Black, white or grey being colourless can be used to for added tonal quality. Monochromatic colour schemes can be restful if well balanced. The softness of flowing fabrics, texture of bagged rendered walls helps create visual and tactile stimulation and ongoing interest. BEST QUALITY PAINT It is recommended that the best quality fully washable paint be purchased for walls and trim such as architraves, skirting boards, doors and timber window frames. Kitchen, bathroom and laundry ceilings should be washable paint to eliminate staining from steam droplets. Insist Blue/Green Monochromatic Colour Scheme 7

8 2. Analogous colour schemes are those colours next to each other on the colour wheel such as red, orange, yellow or green, blue and purple. Analogous colour schemes are also restful but require variety of value, chroma and texture. The best analogous schemes are those falling between primaries showing one colour through the group. Orange/Blue Complimentary Colour Scheme 4. Triadic colour schemes are becoming more popular and the most commonly used is red, blue and yellow. Red Orange Yellow Analogous Colour Scheme 3. Complimentary colours are directly opposite on the colour wheel such as red and green, blue and orange or yellow and purple. The displayed colour schemes have been intensified for the purpose of demonstration. All colours in each scheme may be toned (blackened) or tined (whitened) to the selector s desired effect. Complimentary colour schemes have great energy and vitality especially when selected colours are intense. The most dynamic natural occurrence of a complimentary light colour phenomenon appears at sunset. To sit and watch the setting sun and marvel at its constantly changing beauty will never become tiresome. If we look closely at the sunset, when the sky is red/orange the clouds reflect blue/green. Red blue Yellow (above) Primary Triadic Colour Scheme 8

9 or cold climates hopefully creating visual harmony and continuity with the surroundings. Selecting suitable colours can create a desired atmosphere, lighten or darken a room, provide a "warm or cool" feeling, overcome spatial and proportional problems and generally enrich and enhance our homes and living environments. Green Purple Orange (below) Secondary Triadic Colour Scheme Before choosing a basic colour scheme, try to establish the colour problems of the interior or exterior. THE COLOUR WHEEL Colour wheels may be obtained from any major art supplier. The colour wheel will help the home decorator identify primary, secondary and triadic colour schemes easily and accurately and assist on the selection of colours not easily recognized by the untrained eye. SELECTING A COLOUR SCHEME In the past, our responses to colourful environments have been negative and critical but now, based on the conclusion that colour has psychotherapeutic effects; the responsible use of colour in design seems to be more evident in our homes and cityscapes. The first consideration in exterior and interior design is the choice of a basic overall colour scheme. External colours may be selected for environmental reasons such as living in a rural area, on the beach or in hot Following are examples of design problems confronting home owners and recommendations on how to overcome them. 1. Low ceilings appear higher if painted with a cool, less reflective colour and lower when painted with a warm reflective colour. Ceiling and wall colour should match, but vary in tones, shades and tints. 2. Where there is little sunlight, its effect can be assimilated with tinted yellow walls. 3. Excessive glare can be reduced using cool, dark non reflecting colours using a variety of tones and shades. 4. Decorative components may be enhanced and pronounced when painted with white or light reflective colours or visually eliminated when painted to match the underlying or adjacent wall colour. 5. A too-cold, dark, south facing room can be cheerfully warmed by painting the walls and ceiling a highly tinted yellow reflecting illumination within the room. 9

10 6. A hot, bright north facing room can be cooled using tonal blue or green. 7. Colour can psychologically increase, using warm colours, and decrease, using cool colours, room temperature by degrees either way. Therefore, wise colour selections can psychologically help diminish the need for additional heating or cooling perhaps saving on fuel consumption and costs. COLOUR & ROOM FUNCTION Out of widespread inexperience and colour ignorance we have an abundance of beige, white or off-white residential and commercial interiors, suggesting the community has been through a "beigeness" of mind. The emotional and physical response to beige is minimal - if at all! Colourless interiors may be satisfactory initially but long term exposure to colour inert environments can create an inclination to over cleanliness to the point of neurosis. This may be when our homes begin to control our lives. difficult for the child to disassociate from the play-inducing environment when the passing of time necessitates rest. To retard colour stimulation all illumination must be eliminated from the room. This can be achieved easily during the day by the addition of full sun-block drapes. It is fallacious to prescribe passive interiors for the extroverted in order to calm them down and active interiors for the subdued and introverted to draw them out. In fact, the opposite can occur and neither personality will be happy in surroundings contrary to their personalities and physical condition. When selecting for the aged, select restful tinted tertiary colours such as blues/greens and blue/violets, which can be stimulated to the desired degree by the addition of complimentary colour accessories such as orange/red or orange/yellow respectively. Select a colour scheme according to the function of the room and the activity of its inhabitants. In some circumstances, colour may conflict with the function of a room described as follows:- A child's bedroom might be cheerful, colourful, well illuminated and play provoking during the day making it Blue/purple Orange /yellow A Tertiary Complimentary Colour Scheme 10

11 A north facing room can be extremely hot without sun protection. It may be wise to select a low value, cool colour such as green complimented with red for a garden environment or blue complimented with orange for a beach environment. (See page 35) It is important to remember also that, as much as colour can resolve design problems, colour over stimulation can lead to immunity to sensation, resulting in monotony, boredom and long term dissatisfaction. EFFECTS OF COLOUR "Man/environment relationships must be understood in order to apply colour and light effectively in the home. We know that stimulating the brain in different ways can make people feel angry, happy or sexy for example. Red - Green Primary Complimentary colour Scheme Colour and light are inseparable and used sensibly can resolve many design problems quickly and inexpensively. Applying colour to walls and ceilings can achieve dramatic changes at very little cost. We also know that colour evokes various behavioral patterns, can create complex hallucinations and cause the movement of specific muscles. Colours richer in longer wavelengths are more arousing than those with shorter wavelengths. In the presence of red, time seems to pass more quickly and the palms of the hands perspire more than in the presence of blue. Similarly, deprivation of colour stimulation may manifest itself in symptoms of restlessness, excessive emotional response, and difficulty in concentration, irritation and in some cases a variety of more extreme reactions such as neurosis. Red Blue Yellow Primary Triadic Colour Scheme The previously mentioned physiological responses have their psychological parallels- - Over decorating and colour application may have an adverse reaction on the inhabitants by creating physical and emotional stress. 11

12 - Over use of strong colour, visual pattern and intense brightness demands voluntary and involuntary attention which can impair productivity and visual concentration. - Exposure to intense warm colours may trigger anxiety and expressions of anger. It is safe to conclude therefore, that well balanced colour with variety in interior decoration and home design is most beneficial. Yellow can be cheerful, high-spirited, inspirational, warm, glaring and vital. Medium intensity yellow is an excellent colour for cooler south/east facing kitchens and early morning to midday informal eating areas. South/east facing bathrooms will also benefit from tinted yellow walls assimilating early morning sunlight putting us in good stead for the remainder of the day. PSYCHOLOGICAL RESPONSES TO COLOUR Colour creates an atmosphere to which we respond in various ways as follows:- Red can be aggressive, motivating, stressful, bullish, hot, extreme, happy, overactive, intensely alert, passionate, strength and arousing. Red attracts the eye more than any other colour. Excessive exposure to intense red can create stress, fatigue and headaches and is not generally recommended for private areas used for rest. Blue can be cold, depressing, isolating, lazy, confused, fearful, negative and melancholy. Blue is calming and tends to be relaxing inducing sleep. Tinted blues are ideal for Green can be tranquil, refreshing, quiet, natural and tiresome. Green is recommended for day rooms for the elderly complimented with a subtle, but stimulating red. Purple is regarded as dignified, elegant, regal, exclusive, lonely, mournful, pompous, conceited and subduing. Dining and living rooms tend to be more elegant retaining a sense of repose and dignity especially if colours used are toned and stronger emphasizing the focus of the room. Orange can be stimulating, cheerful, jovial, lively, energetic, extroverted, sociable, intrusive but pedestrian. When toned, a wonderful colour to use in casual family rooms providing stimulation without aggression for family babies and children s rooms. communication and activities. 12

13 COLOUR AND INTERIOR DESIGN Unfortunately the insatiable desire to devour, own and consume anything that is perceived to be worthwhile and good as marketed by the numerous consumer-orientated building journals and interior design magazines has resulted in badly resolved, stereotyped housing for the masses. Fortunately governments now employ specialists in their fields to develop stereotypical housing with the introduction of usable, environmentally respectful, inhabitant friendly housing developments and street scarping programs. Colour is by far the easiest, inexpensive, time and cost effective way to resolve many interior design problems as discussed in this chapter. accessories will help determine a colour scheme. Generally, the larger the space or plane such as ceilings, floors and walls the lighter or tinted the hue. Conversely the smaller the object or plane the more intense and toned the compliment hue. Following is an example of small delicate blue squares against an intense orange background. Less energy and interest is created in the example on the left because of the less aggressive tinted blue square compared to the intense blue of the juxtaposed square against the same colour. In meeting design objectives it must be stressed that the desired mood or atmosphere of a space should conform to the function. The degree of mood creation depends on the particular colour usage. Insignificant Vivid COLOUR VARIETY AND ACCESSORIES We can easily and inexpensively vary, change and accessorize our interiors with the simple addition of colour. The aspect of the room, spatial and light quality and the function, age of occupiers and existing furnishings and Crafts, rugs, cushions, draperies, lamps and floral accessories are more dignified when carefully selected to compliment and harmonize with existing colour schemes. Many a dull interior has been transformed instantly by the simple inexpensive introduction of a carefully selected large bowl of colour coordinated fruit or flowers. 13

14 Red apples and green grapes being complimentary colours, or oranges, limes and purple grapes being triadic colours can achieve much especially when highly illuminated under a lamp or dining table pendant. A well illuminated large vase of brilliant red roses in a green room can look sensational as would a spectacular bowl of oranges and leaves in a blue room. So much to choose from at little cost! Interior colour compositions are best when all properties are carefully considered achieving balance, harmony, interest and energy levels appropriate to the rooms function Appropriately selected, well balanced colour schemes will benefit the occupiers far more than the latest inexpensive throw rugs or current interior trends as well as helping an ailing environment. Lastly, the simple application of paint colour is inexpensive, easily applied and physically and emotionally satisfying more so than any other home decorating element. NOTE: The colour schemes demonstrated in this chapter, have been slightly emphasized for the purpose of publication. PAINT COLOUR is a most beneficial tool when the budget is tight. CLIMATE AND COLOUR * * * * * We are fortunate to be living in a moderate climate with an abundance of sunlight and blue skies with light, bright, sun filled mornings and colourful balmy sunsets. Subtle use of environmental colours will visually and psychologically connect the exterior surroundings of your home with interiors spaces, deemphasizing physical barriers, creating an illusion of psychological space. Prior to selecting colours, consider the immediate surrounding environmental colours and the location of the premises. Beach locations would surely require an entirely different response to colour selection than that of a rural environment. 14