07 May Interior Colour Scheme
interior Colour Scheme
Colour harmonies can be described simply as specific colour ranges. They are used to balance colours do that combinations of these colours are harmonious or aesthetically pleasing. By following simple rules, colour harmony can be utilized to create a successful interior colour scheme.
Successful colour relationships can be referred to as “colour harmonies”. Whether they consist of similar hues that are soothing to the eyes or are made of contrasting ones that excite the eye, colour harmonies are often subject to personal preference. However, the study of art and design has given us some specific colour theories, or guiding principles that help us make effective decisions about colour usage.
We recommend the use of colour wheel called the Subtractive Artist’s Primary Colours (RYB), because picking colours is easiest with this set of primaries. The colour wheel will help to select colour combinations that balance each other. This balance is a result of all the colours in a chosen composition adding up to gray, or neutrality, in the eye/brain. This result will cause to work to just “feel right” to the viewer.
A colour by itself will elicit an emotional and physical response, but the nature of the response can be altered by placing it in context with one or more colours. Colour perceptions shift dynamically when aligned with other colours. Designers can vary colour combinations to produce relationships that are allied or contrasting and therefore can affect viewer’s impression.
Basic colour relationship concepts
Here are six basic
Colour relationship concepts that can be applied to an infinite number of colour combinations.
These are colour pairs that are directly opposite each other on the colour wheel. They represent the most contrasting relationships. The use of two complementary colours will cause a visual vibration and excite the eye.
The complementary colour harmony provides a greater contrast with harmony by using complementary pairs. By employing high contrast schemes, the designer can exploit the strength and tones of two colours on opposite sides of the colour wheel, such as red and green. For an effective high contrast scheme, tone down one or all of the colours or separate them with a related colour or with neutrals such as gray or white. Varying the amounts of complementary colour, as well as their individual strengths can result in successful design. Balance is the key. Above all, make sure that individual colour becomes dominant in the overall scheme.
These are the three-colour schemes in which one colour is accompanied by two others that are spaced equally from the first colour’s complement. The contrast is toned down somewhat, providing a more sophisticated relationship.
This is the combination of two pairs of complementary colours. As complements increase the apparent intensity of each other, not all colour sets will be pleasing. Avoid using equal volumes of the four colours to make the scheme less jarring.
These are combinations of two or more colours that are spaced equally from each other on the colour wheel. These colours have similar light ray wavelengths, so they are easiest on the eye.
These are combinations of any three colours that are spaced evenly around the colour wheel. Triads with primaries are garish, but secondary and tertiary triads provide softer contrast. Triads in which two of the colours share a common primary (e.g. purple and orange share red) may seem more pleasing.
These are colour schemes made up of shades and tints of a single colour. Use one hue and explore variety in saturation and lightness to form an allied combination of similar colours.
This colour scheme is most prominently found in nature, within the extensive shades of green foliage. Monochromatic harmony is one-hue harmony, which combines colours derived from a colour range of a single hue. These schemes have qualities that can either be warm or cool, yet they are not strictly neutral. They tend to be comfortable and relaxing because they blend well with most lighting conditions. Monochromatic schemes can be further cooled with addition of neutrals such as white, gray and black.
Colour Design Workbook, A real-world guide to using colour in graphic design, by Terry Lee Stone with Sean Adams and Noreen Morioka
The interior designer course – principles, practices and techniques for the aspiring designer, By Tomris Tangaz, Publisher: Thames & Hudson