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CHAPTER CONTENTS OPTICAL EFFECTS

INTRODUCTION A room painted in a light color will seem larger than that same room painted
HISTORY in a dark color. This is because light colors tend to recede while dark colors
COLOR AND EMOTION advance. Warm colors seem closer while cool colors seem farther away. A long
COLOR PREFERENCES narrow room will seem more in proportion if its far wall is dark and its side
COLOR AND LIGHT walls are light. A room with a low ceiling painted white will seem higher than
OPTICAL EFFECTS
a ceiling painted dark.
BASIC COLOR THEORY
COLOR SCHEMES
A P P LY I N G C O L O R I N FA C I L I T I E S

Warm Colors vs. Cool Colors Colors are often said to be warm or cool in temperature and thus all colors
are classified in one of these two families that create strong and different
impressions.

Warm colors such as red, orange, and yellow, are associated with sun and fire,
and therefore create a sensation that a space is several degrees warmer than
actuality. Warm colors appear to advance toward its viewer as well as excite
and cause a sense of aggression.

Cool colors such as blue, violet and green, are associated with air, sky and water,
and thus, are naturally cool and soothing. Cool colors tend to recede in a space
and can create feelings of passiveness and calmness.

Note that there can be cool shades of red and warm shades of blue that are
determined by mixtures of hues. In addition, the quality of warmth and
coolness in a color may be altered by its neighboring hues. For example, when
a warm hue is in contrast with a cool hue, the warm hue appears warmer and
the cool hue appears cooler.

Simultaneous Contrast The rule of Simultaneous Contrast is the effect of one hue upon another.
Whenever two different hues come into direct contact, the contrast intensifies
their differences. The greatest contrast occurs with complementary colors. For
example, red seems brightest next to green, as green seems brightest when seen
with red. There is an effect with closely related colors, for example, a yellow-
green surrounded by green appears yellowish, but surrounded by yellow, the
yellow-green seems more noticeably green.

The contrast can be in value or intensity as well as in hue. A gray-blue looks

brighter when placed against a gray background; however, the same gray-blue
neutralizes when placed against a bright blue background. These are just a few
examples of the tricks colors play and why it can be difficult applying color.

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BASIC COLOR THEORY
Successful color selection in interior design is a combination of experience,
schooling and talent. Developing the ability to properly apply color begins
with studying the basic principles of color theory.

The Three Dimensions of Color The properties of color are based on three dimensions; hue, value and intensity.

Hue is the name of a color, such as red, blue and yellow.

COLOR
Value is the lightness or darkness of a color that indicates the quantity of light
reflected.
SHADE TINT
Intensity is the saturation or strength of a color determined by the quality of
TONE
light reflected from it. A vivid color is of high intensity; a dull or muted color,
of low intensity.
BLACK WHITE

G R AY

Hue and the Color Wheel Hues are defined and organized by the color wheel which is made up of the
following twelve colors, each at their full intensity:

Primary Colors: Red, Yellow, Blue

Secondary Colors: Orange, Green, Violet
Tertiary Colors: Red-orange, Orange-yellow, Yellow-green
Green-blue, Blue-violet, Violet-red

The Color Wheel

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The primary colors are red, blue, and yellow. When the three primaries are
mixed in pairs, or all together in equal or unequal amounts, all possible colors
can be produced

Secondary colors are created by combining two primary colors:

Red + Yellow = Orange

Red + Blue = Violet
Blue + Yellow = Green

Primary Colors Secondary Colors

Value Value is the relative lightness or darkness of a color that is determined by the
amount of black or white present in a color.

A “tint” is created when white is added to lighten a color. This also gives a
color a high value.

A “shade” is created when black is added to darken a color. This also gives a
color a low value.

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The value of color is graded on the gray value scale with white as the highest
value, black as the lowest value, and several tints and shades of gray in between.
If a black and white photograph were taken of a room full of colors, their
equal values could be compared with the gray value scale. Note: Black and
white printers and black and white copiers do not give the same effect as black
and white photography.

White

High light Yellow

Yellow-Orange Light Yellow-Green

Orange Low Light Green

Red-Orange Medium Blue-Green

Red High dark Blue

Red-Violet Dark Blue-Violet

Violet Low dark

Black

Color Value Scale

Intensity Intensity, or the saturation of color, is determined by the amount of gray added
to a color. The “pure” color of red will have a strong intensity while a muted
color of red will have a low intensity.

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Color Relationships The successful use of color is dependent upon a clear understanding of color
relationships. A single color retains a certain character, but adding other colors
to its surrounding may change its characteristics. Colors may be closely related
or in contrast. The greatest contrast occurs with complementary colors, two
colors that appear directly opposite each other on the color wheel. For
example, red and green are complementary colors just as violet and yellow,
and blue and orange are complementary colors.

Complementary Colors (extreme contrast)

Split Complementary Colors

A split complementary system involves a color with two colors on either side of
its complement. This results in a variation that has less contrast because of the
short interval between colors on the color wheel.

Split Complementary Colors

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There is less contrast when three colors are spaced equally apart on the color
wheel and used together. The first group is called the primary triad which
consists of red, yellow and blue. This triad provides the most striking contrast.

Primary Triad (vibrant contrast)

The secondary triad, composed of orange, green and violet, has the same
interval between hues, yet gives a softer contrast.

Secondary Triad (soft contrast)

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Analogous colors appear next to each other on the color wheel, and because
they have the shortest interval between them, they have the most harmonious
relationship.

Analogous Colors (Close relationships)

The Munsell System Our fascination with color has resulted in the development of a number of
color systems. The most widely used system for identifying color was
developed in the early 1900’s by the American artist, Albert Munsell. Munsell’s
system shows the relationships between color, tints and shades. The system was
used to give names to the many varieties of hues that result from mixing
different colors with each other or mixed with the neutral colors black and
white. In 1943, American industry adopted the Munsell system as its standard
for naming colors. The United States Bureau of Standards in Washington,
D.C. also adopted this system.

Munsell Color Wheel

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The Munsell system has five basic colors: red, yellow, green, blue and purple
(violet). Intermediate colors are created by the mixture of any two of the basic
colors that are adjacent on the color wheel. For example, the mixture of red
and yellow is the intermediate color red-yellow. Other intermediate hues
include green-yellow, blue-green, purple-blue, and red-purple.

Munsell devised a three-dimensional color system that classifies the variations

of colors according to the qualities of hue, value, and intensity.

Each hue is indicated by the notation found on the inner circle of the color
wheel – R for red, Y for yellow, G for green, B for blue, and P for purple. The
intermediate or tertiary colors are described with two letters such as RP for
red-purple. The value number of a color follows the hue designation. For
example, YG/7 is a yellow-green with a value matching step 7 of the gray scale.
The intensity number comes last; thus, YG/7/4 indicates a yellow-green hue at
a value of 7 and intensity of 4.

COLOR SCHEMES
There are several color schemes; some simple while others are very complex.
|As expected, the more complex a color scheme the more skill is required
to achieve a successful design. The concept of harmony lies behind the
development of each color scheme.

Neutral (monotone) Color Schemes

A neutral or monotone color scheme consists of various tints and shades of a
neutral color such as black, white, gray, beige, tan or taupe. A neutral scheme
is easily composed by selecting a neutral then building upon several values of
that neutral. This scheme is often used as a backdrop for a striking accent
color or for non-competing backgrounds when an important element is
displayed, such as artwork. Neutral color schemes can become monotonous
if not accented properly; however, a successful scheme can be considered
sophisticated, elegant, and refined. They are used when a soft but formal
space is desired, such as a hotel, bank or museum.

Neutrals

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Monochromatic Color Schemes
The monochromatic color scheme consists of one chosen hue with several
values and intensities of that hue used to create depth and interest. Spaces with
a single color can look dramatic, but this scheme my create monotony. The
monochromatic color scheme works well in spaces where we don’t spend a
great deal of time, for example, a private hotel suite or an upscale retail store.

Monochromatic Color Scheme

Analogous Color Schemes

Using colors that are adjacent on the color wheel have close relationships and
create analogous color schemes. Blue-green, blue, and blue-violet make up an
analogous scheme. This scheme easily creates harmony, is usually vibrant, and
works well in spaces that encourage high energy such as daycare centers and
sports facilities.

Analogous Color Scheme

Complementary Color Schemes

Colors that are located across from each other on the color wheel are
complementary and thus make up a complementary color scheme. For
example, red and green, yellow and purple, and blue and orange are
complements. Complements have the greatest intensity when seen together
and can be extremely pleasing. When designed correctly, the scheme brings
feelings of energy and cheerfulness. However, it can be difficult to succeed at
this scheme for it can become too bright or garish if the colors are not properly
balanced.

Complementary Color Schemes Fast food restaurants often use complementary color schemes. The result is an
interior that exudes high energy, but also does not make the customer too
comfortable. The effect is that many are attracted, but at the same time there is
the high turnover necessary to achieve profit.

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Split Complementary Color Schemes
The split complementary color scheme consists of one hue with the two hues
adjacent to its complement. The two adjacent hues are harmonious while
the complement adds a vibrant contrast. When used together, the palettes
of yellow-green, red, and blue-green, will create a split complementary
color scheme.

Yellow-Green

Red

Blue-Green

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Triad Color Scheme
The triad color scheme incorporates three hues that are equally spaced on the
color wheel. The most common triad scheme is used with the primary colors -
red, yellow and blue in energetic spaces such as schools, sports arenas, and
movie theaters. Varying the values of triad hues can create a sophisticated look,
but this is difficult to master without creating harshness and confusion within
a space.

Tetrad Color Schemes

The tetrad color scheme incorporates four hues that are equally spaced on the
color wheel. Vivid tones give a lively feeling, while muted tones bring a subtler
mood. Tetrad color schemes are rare and difficult to produce since they often
Child Development Center
create harsh and confusing spaces.
Hanscom Air Force Base, Massachusetts

A P P LY I N G C O L O R I N FA C I L I T I E S
The basics of incorporating color apply to every type of interior space. Yet,
many variables interact with color (e.g., location, the size of the space, and
natural and artificial lighting). The Federal Standard 595B color fandeck
may be used as a reference when selecting colors. The fandeck may be
ordered from the General Services Administration (GSA) catalogue, stock
#7690-01-162-2210.

The following generalizations are suggested for each space type.

Offices – General
The objective for designing an office is to create an environment that promotes
productivity for the many users who work long hours. Color plays an
important role in stimulating productivity without creating distraction. Bright
warm colors work best in areas where physical tasks take place, and calmer,
cooler colors work best where visual and mental tasks are performed. Livelier
colors should be applied in limited areas with related quiet tones in larger
spaces. In multi-floor or large offices, each floor or department can possess an
Gossick Leadership Center Renovation identifying color tonality, with strong colors in lobbies, corridors, and entrance
Arnold Air Force Base, Tennessee points, while related softer hues are used in the general office areas.

• Desks and work surfaces – light toned neutral desks and work surfaces are
good choices since neutrals are not distracting, and their low brightness
contrast (glare) minimizes eye fatigue. Light gray, tan, beige, taupe and ivory
are soft colors that work well and have a light reflectance of approximately
30%.

• Flooring – medium to light toned floor surfaces are suggested to reduce

brightness contrast between the floor color and tasks or work surfaces. The
light reflectance range should be 20% – 50%. The color of soil in a given
geographical region plays a part in the color selection of flooring so as to
camouflage soil.
Typical Office

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• Walls and panels – a light reflectance range of 40% - 60% is suggested for
walls and panels. An accent wall, in a soft hue, can be added for interest and
to relieve monotony. Deep colors may be used behind a desk, or in frontal
view, but should not be used on a window wall due to the high contrast.

• Ceilings – bright ceilings of white are functional for good light reflectance.

• Corridors – bright, bold, and contrasting colors may be added to corridors

for visual stimulation.
Building 32 Rehabilitation
Wright-Patterson Air Force Base, Ohio • Doors – various colors for doors can be used anywhere.

• Private offices and conference rooms – variations of colors may be used in

private offices and conference rooms. Avoid use of dark colors in spaces with
low light levels. However, dark hues, when balanced with lighter hues,
complement spaces that have an abundance of natural and artificial light.

Air Mobility Command Design Center

Scott Air Force Base, Illinois

Industrial Plants
Color is important in the industrial setting to reduce fatigue, annoyance, and
to promote efficiency and safety. Certain colors in these settings also reduce
absenteeism, and improve labor morale.

Colors may offset problem areas, for example, the use of cool blues and greens
are desirable in a space with excessive heat. Conversely, reds and oranges warm
a cold space or can compensate for the lack of natural light. Incorporating soft
hues, especially tints of green, may calm noisy spaces.

• General surfaces – brightness contrasts are to be considered; glossy surfaces

that produce glare should be avoided.

• Walls – colors should be in light hues; however, a tinted accent hue with a
reflectance of 25% - 40% may be used on an end wall to reduce monotony
and lessen eye fatigue.

• Upper walls – should have a light reflectance between 50% - 70%.

• Ceilings – white should be used on ceilings to provide maximum light reflectance.

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• Colors and safety – various colors have been adopted for safety purposes in
industrial settings. Green is the choice color for machinery and equipment.
Yellow marks potential hazard areas while red indicates fire-safety equipment,
containers of dangerous materials, and control switches and buttons on
machinery. Blue indicates electrical controls and repair areas, and white
indicates trash containers, drinking fountains, and food-service locations.
Black striping indicates traffic areas, aisles, and stairways.

Schools
Studies have shown that the proper use of color in schools plays an important
role in the performance of students. This is especially true in the early years of
children. A warm brighter, color scheme not only offers positive affects on the
academics of students, but their behavior as well.

One of the most important interior elements in schools is illumination. A goal

of effectively controlling illumination with color is to keep eyestrain and glare
to a minimum. The way to accomplish this is to keep the brightness ratios
somewhat consistent.
Child Development Center
Walls, floors, furniture and equipment - these areas should be painted in mild
United States Air Force Academy, Colorado
color schemes with a 50-60% light reflectance. A stronger color painted end
wall can add interest. Gray or green chalkboards can seem less drab when
surrounded by contrasting colors.

• Ceilings – white or off-white ceilings should be installed for maximum

light reflectance.

• Auditorium – several hues of warm tones are suggested, including tints

of green.

• Shops, and art rooms – light hues are appropriate and work well in
Air Force Senior Commissioned these spaces.
Officer Academy
Gunter Annex, • Gymnasium – luminous tones work well in gyms, while colors that reflect
Maxwell Air Force Base, Alabama flattering light, such as coral, work best in locker and dressing rooms.

• School facilities such as libraries, offices and teachers lounges, should be

designed with subdued tones.

• Corridors and stairways – bolder colors may be used to offer stimulation in

these transition spaces.

Health and Wellness Center

Elgin Air Force Base, Florida

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Hotels
A hotel design should present a welcome, pleasant experience for its guests.
The climate and customs of the region can add to the characteristics of the
chosen color schemes and style. For example, brightly colored tiles and fabrics
combined with white walls may suggest a tropical location.

• Lobby and lounge – the front lobby and reception desk can accept strong
use of color that creates lasting impressions. Warm colors in lobbies and
lounges provide comfort for people who will occupy these spaces for long
periods. Dark woods and marbles suggest solidity and tradition, whereas
bright saturated colors imply a casual and playful atmosphere.

• Guestrooms – colors may vary, as suggested above, to reflect climate and region.
However, the chosen color scheme should promote comfort and relaxation.

• Corridors - a lively color scheme is suggested for the corridors, incorporating

a dark color at one end to give interest when walking down a long hallway.

Medical and Healthcare Facilities

The interest of the patient is the primary concern when designing medical and
healthcare facilities. Research studies suggest that the environmental ambience
plays a significant role in the rate of patient recovery. Visual contact with the
out-of-doors, natural materials such as wood, and warm colors contribute to a
faster rate of recovery. Warmer colors in hospital rooms flatter users’ skin tones
when reflected in mirrors.

Cooler colors offer a calming ambience and are appropriate for intensive care
units. Bluish-green is a standard for operating rooms because it provides visual
relief of personnel from the red tones of blood and tissue. Cooler colors, which
Area Dental Lab calm, are appropriate for examination rooms, while warmer tones are used in
Peterson Air Force Base, Colorado areas such as dermatology and obstetrics. However, color should be restrained
to avoid the possibility of environmental color reflection interfering with
patient diagnosis.

Food Service
Many studies have been provided by the food service industry regarding color
and the physiological responses to food and its atmosphere. For example, the
color red was found to stimulate the appetite.

In general, warm tones are comforting in restaurant settings. Colors to avoid

include black, dark gray, cold gray, strong tones of blue and violet, and
yellow-green.

Iditarod Dining Facility

Elmendorf Air Force Base, Alaska

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The style of each food service area should be taken into consideration when
applying color. Fast food establishments and cafeterias incorporate bright
colors to promote a faster pace. Fine restaurants and traditional eating
establishments are typically designed in subdued colors to promote leisurely
dining. In each case, the color of floor coverings should be selected to conceal
soiling. The color scheme should be versatile with bright lighting at lunchtime
and softer lighting at dinner.

Traditional associations of color are appropriate when serving various styles of

cuisine. Mexican, Indian and Spanish foods are associated with bright cheerful
Air Force Senior Commissioned colors, Greek with blue and white, and Italian with red, green and white.
Officer Academy Colors of table settings should complement the food to be served. Care must
Gunter Annex, be taken so that the space does not become a cliché.
Maxwell Air Force Base, Alabama
Supermarkets apply bright colors in various areas; however, white is preferred
in the dairy section, and lighter blues and blue greens are used at the meat
counter to complement red meats. Colorful cans and other merchandise are
nicely displayed when seen against a neutral background.

Retail Outlets
Retail outlets display their merchandise in the most attractive setting to achieve
high sales volumes. Color has a strong impact on consumer reactions to
products including impulse buying.

The general rule of thumb is to use bright colors in low cost, rapid turnover
shops, and more subtle sophisticated color schemes in higher priced and leisure
shops. Discount stores often use bright colors to stimulate customers; however,
a low-end rack outlet may use white walls and gray floors to give the effect of a
discount image.

Men’s clothing shops tend to have natural wood and brown tones to promote a
club-like atmosphere. Women’s shops usually retain soft, warm tones, possibly
pastels. Bright colors used with metallic, white, black, or gray, tend to promote
electronics and other high tech products. Avoid strong color on display
backdrops and shelves that may distract from the merchandise. Light grays and
tans are good choices. Expensive jewelry and small gift items sparkle against
conservative colors.
BXTRA Open Air Mall
Hickam Air Force Base, Hawaii
CONCLUSION
Along with man’s sensitivity to time and space is sensitivity to color. Color can
affect perception of size just as it can affect mood. It is important to wisely and
carefully incorporate color into all interior projects using it to heighten
awareness of the appearance and mood of space.

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