Hue refers to the basic colour, such as red, blue, yellow, etc. BS 4800 is the British Standard for colour coordination. It contains 100 colours divided into categories based on hue, greyness, and tone. Colour schemes can be warm/advancing using red, yellow and orange hues, or cool/receding using blue and green hues. Monochromatic schemes use tints and shades of a single hue. Harmonious schemes use analogous or related hues. Complementary schemes pair hues directly opposite each other on the colour wheel.

1. COLOUR SCHEMES
Session 2

2. • BS 4800
• The Colour Circle
• Types of colour
scheme
• Producing colour
schemes

3. BS 4800
The standard range contains 100 colours
chosen from a basic range of 237 colours
established in BS 5252:1976 Framework for
colour co-ordination for building purposes.
The range is divided into a basic selection of
32 colours, including black and white. Each
colour is identified by a code consisting of
three parts.

4. HUE
10
02
04
06
24
08
20
12
18
16
14
22
RED PURPLES
REDS
YELLOW REDS
YELLOW REDS
YELLOW
YELLOW GREENS
GREENS
GREEN BLUES
BLUES
PURPLE BLUES
VIOLETS
PURPLES
The first part signifies hue or
colour and consists of an even
number of two numerals, e.g. 04
Twelve main hues are used plus
greys which are all 00.

5. In relation to colour terminology, define the term ‘hue’:
a) measures the lightness and darkness of a colour; the
scale is based on a vertical pole divided into 11
divisions
b) measures the greyness of a colour; it is measured on
a horizontal scale from neutral grey to the pure hue
c) denotes the basic colour, distinguishing yellow from
red, blue from green, etc.
d) measures the lightness, darkness and greyness of a
colour

6. GREYNESS
The second part signifies, i.e. the difference in
the apparent amount of greyness in one colour
compared with another. Five grades are used,
each defined by a single letter. There are four
steps of diminishing greyness from A
maximum to D minimum. Beyond this colours
are pure or free from greyness, graded as E:
e.g. pure yellows are prefixed 10E.

7. WEIGHT
The weight is given in pairs of numbers from 01
to 56. Groups of colour within each of the five
greyness ranges are graduated from high value
to low value. Each of these graduations is
numbered.
A greyness - 01 to 13
B greyness - 15 to 29
C greyness - 31 to 40
D greyness - 43 to 45
E greyness – 49 to 56
EG the lighter yellow is 10 E 49 while the pure yellow is
10 E 53

8. COLOUR TERMS
The colour circle, the natural order of colour, tints &
shades, warm/advancing, cool/retiring, Monochromatic,
Harmonious, analogous & contrasting colour schemes.

9. THE COLOUR CIRCLE

10. THE COLOUR CIRCLE
Complete the colour circle in the natural order. On the
inner triangles print W for warm and C for cool colours

11. NATURAL ORDER OF
COLOUR
YELLOW AND
PURPLE/BLUE
Yellow being the lightest
colour in the colour circle is
always placed at the top,
purple blue being the darkest
is placed at the bottom. Used
in this order they are usually
visually pleasing to the eye.

12. • A discordant colour scheme is produced
when the natural order is reversed e.g..
a dark yellow placed next to a very light
purple.
DISCORDANT COLOURS

13. Coving or
Cornice
Ceiling
Frieze
Dado
Dado
Rail
Wall
Filling
Picture
Rail

14. Medium tone
Lightest tone
Medium tone

15. WARM OR ADVANCING
COLOURS
Colours taken from the red, yellow,
orange part of the colour circle which give
the appear to come towards the eye and
the appearance of warmth.
YELLOW
RED
ORANGE

16. When used in North facing rooms,
which have little natural daylight,
these colours add the feeling of
warmth.
WARM OR ADVANCING Colour
Schemes

17. Example of a Warm, Advancing colour
scheme
WARM OR ADVANCING Colour
Schemes

18. The fast food outlet requires redecoration in a warm
colour scheme. The chosen colour scheme should be
annotated to BS 4800 framework to the nearest
matching tint/shades.

19. The fast food outlet shown below requires redecoration
in warm colour scheme. The chosen colour scheme
should be annotated in BS 4800 a framework to the
nearest matching tint/shades.
Training Activity 2 – WARM Colour Scheme

20. Produce and name the colour scheme which would give the
corridor shown an impression of being narrower and
shorter, giving the impression that the back wall was being
brought forward. Using BS 4800 colour framework select
and annotate the nearest tints and shades.

21. Produce and name the colour scheme which would give
the corridor shown an impression of being narrower and
shorter, giving the impression that the back wall was
being brought forward.
Training Activity 4 ADVANCING Colour
Scheme

22. TRAINING ACTIVITY 9 ADVANCING
COLOUR SCHEME
For the factory shown below, produce an Advancing colour
scheme and referencing BS 4800 colour swatches fill in the
relevant boxes using an appropriate BS 4800 No.

23. TRAINING ACTIVITY 9 ADVANCING
COLOUR SCHEME
For the factory shown below, produce an Advancing
colour scheme and referencing BS 4800 colour
swatches fill in the relevant boxes using an
appropriate BS 4800 No.

24. COOL OR RECEDING
COLOURS
Colours from the green and
Blue part of the colour circle
which appear to recede or
retire away from the eye and
give the appearance of being
cold.
BLUE AND GREEN

25. COOL OR RECEDING Colour
Schemes
Cool colour schemes are achieved by
selecting colours from the green and blue
part of the colour circle which give the
appearance of coolness.

26. Produce and name the colour scheme which would give the
corridor shown an impression of being longer. . Using BS
4800 colour framework select and annotate the nearest tints
and shades

27. Training Activity 5 RECEDING Colour
SchemeProduce and name the colour scheme which
would give the corridor shown an impression of
being longer.

28. For the corridor shown below, produce a receding
colour scheme from the following range and
referencing BS 4800 colour swatches fill in the
relevant boxes using an appropriate BS 4800 No.

29. For the corridor shown below, produce a receding colour
scheme from the following range and referencing BS 4800
colour swatches fill in the relevant boxes using an
appropriate BS 4800 No.

30. MONOCHROMATIC Colour
Schemes
Monochromatic colour schemes are based solely
on tints and shades of one colour.

31. TINTS AND SHADES
A TINT can be described as
a colour with WHITE
added, while a SHADE can
be described as a colour
with BLACK added.

32. For the domestic situation shown below, produce a
Monochromatic colour scheme referencing BS 4800 colour
swatches fill in the appropriate boxes using the BS 4800 No.

33. For the domestic situation shown below, produce a
Monochromatic colour scheme

34. The client wishes you to produce a monochromatic colour
scheme for the corridor shown. Annotate the closest BS 4800
colours to your chosen scheme in the boxes below.

35. Practical Assessment 2 MONOCHROMATIC Colour
Scheme
The client wishes you to produce a monochromatic colour
scheme for the corridor shown.

36. What is a monochromatic colour scheme?
a) A colour scheme based on tints and shades of one colour.
b) A colour scheme based on any two colours which lie
opposite each other on the colour circle.
c) A colour scheme of different colours in hue, value or
chroma when seen together.
d) A colour scheme which is harmonious or has pleasing
colours closely related to each other on the colour circle.

37. HARMONIOUS Colour Schemes
Colours which appear pleasant together when
used in a scheme. Analogous colours can
provide harmonious combinations, so can close
tonal relationships. If there is a common
colour or tonal relationship some degree of
harmony will result.

38. Coloured materials either reflect light
and appear brighter, or absorb light and
appear darker. Colour can be measured
in tones (referred to as value in the
Munsell system and Weight in BS4800).
The illustration shows a range of grey
tones from white to black. Those at the
top are light tones and reflect most of
the light, and those at the bottom are
dark tones and absorb the light. These
are the REFLECTANCE VALUES of
109876543210
HARMONIOUS Colour Schemes

39. 109876543210
If a room is painted in a colour similar
in tone to number 9 on the scale, most of
the light will be reflected and the room
will be bright. If a room is painted in a
colour of number 2 tone most of the light
will be absorbed and the room will be
dark.
HARMONIOUS Colour Schemes

40. Practical Assessment 3 HARMONIOUS Colour
SchemeThe shop shown was recently a retail clothing
outlet for teenage fashion. It has now changed
hands and will become an estate agency.

41. You are asked to prescribe a colour to show how
light reflectance of colour can create a more
appropriate ambient surrounding for the new
business.
On production of your colour scheme, annotate
the nearest BS 4800 numbers below and state
briefly why you have chosen these particular
colours and how light reflectance has had a
bearing on your selection.
Practical Assessment 3 HARMONIOUS Colour
Scheme

42. When compiling your answer think about:
• How the space is to be used & why this may
influence your choice of colour?
• Who is using the space & what are their
expectations requirements?
• How will greater light reflectance improve the
experience of the user?
Practical Assessment 3 HARMONIOUS Colour
Scheme

43. Practical Assessment 3 HARMONIOUS Colour
Scheme

44. Practical Assessment 3 HARMONIOUS Colour
Scheme
On production of your colour scheme, annotate the nearest
BS 4800 numbers below and state briefly why you have
chosen these particular colours and how light reflectance
has had a bearing on your selection.
EXEMPLAR
I have produced a Monochromatic colour scheme. The
principal colour was chosen to reflect the serious nature of
the business for which the space is being used. I have
chosen colours of high light reflectance so that the
properties on display in the Estate Agents are displayed to
their maximum potential & are clearly visible to clients
who may wish to view them.

45. COMPLEMENTARY Colour
Schemes
Complementary colour schemes are produced by
selecting colours which lie opposite each other on
the colour circle and when placed side by side
intensify each other without changing their hues.

46. The client wishes a redecoration scheme for the
bathroom shown below. It should be
complementary to the existing lino flooring which
is a tint of BS 10 E 49
Practical Assessment 4 COMPLEMENTARY Colour
Scheme

47. The client wishes a redecoration scheme for the
bathroom shown below. It should be
complementary to the existing lino flooring which
is a tint of BS 10 E 49
Practical Assessment 4 COMPLEMENTARY Colour
Scheme

48. What is a complementary colour scheme?
a) A colour scheme based on tints and shades of one colour.
b) A colour scheme based on any two colours which lie
opposite each other on the colour circle.
c) A colour scheme of different colours in hue, value or
chroma when seen together.
d) A colour scheme which is harmonious or has pleasing
colours closely related to each other on the colour circle.

49. ANALOGOUS Colour Schemes
Analogous colour schemes are closely related to
each other on the colour circle e.g.. Yellow, yellow-
green and green which when used in the
appropriate manner appear harmonious or
pleasing.

50. Training Activity 7 ANALOGOUS Colour Scheme
For the office shown below, produce a Analogous colour
scheme referencing BS 4800 colour swatches fill in the
appropriate boxes using the BS 4800 No.

51. Training Activity 7 ANALOGOUS Colour Scheme
For the office shown below, produce a Analogous colour
scheme referencing BS 4800 colour swatches fill in the
appropriate boxes using the BS 4800 No.

52. An architect wishes you to prescribe an analogous
colour scheme for the bungalow shown. It is set in
a rural environment and the colour scheme chosen
should reflect this setting. Match it to the nearest
BS 4800 tint or shade.
Practical Assessment 5 ANALOGOUS Colour
Scheme

53. Practical Assessment 5 ANALOGOUS Colour
Scheme

54. What is an analogous colour scheme?
a) A colour scheme based on tints and shades of one
colour.
b) A colour scheme of any two colours which lie opposite
each other on the colour circle.
c) A colour scheme of different colours in hue, value or
chroma when seen together.
d) A colour scheme which is harmonious or has pleasing
colours closely related to each other on the colour

55. CONTRASTING Colour Schemes
Contrasting colour schemes are produced by
choosing colours of different value, hue or chroma
e.g. the contrast of red against green, light
colours against dark colours, strong colours
against greyed colours.

56. For the room shown below, produce a Contrasting colour
scheme referencing BS 4800 colour swatches fill in the
appropriate boxes using the BS 4800 No.

57. For the room shown below, produce a Contrasting colour
scheme referencing BS 4800 colour swatches fill in the
appropriate boxes using the BS 4800 No.

58. The dwelling shown has to have a contrasting
colour scheme selected. The roofing colour is a
tint of 00A 05. Annotate your colours to the
nearest BS4800 number.
Practical Assessment 6 CONTRASTING Colour
Scheme

59. The dwelling shown has to have a contrasting
colour scheme selected. The roofing colour is a
tint of 00A 05.
Practical Assessment 6 CONTRASTING Colour
Scheme

60. What is a contrasting colour scheme?
a) A colour scheme based on tints and shades of one colour.
b) A colour scheme based on any two colours which lie
opposite each other on the colour circle.
c) A colour scheme with distinct differences in colours
regarding hue, value or chroma.
d) A colour scheme which is harmonious or has pleasing
colours closely related to each other on the colour circle.

61. COLOUR SCHEMES
Prior to drawing up any colour scheme certain
factors must be considered by the decorator.
1. SURROUNDING ENVIRONMENT
On exterior areas consideration must be given
to the effect that a colour scheme will have on
the surrounding area, whether the scheme is to
blend in with the countryside or stand out in a
shopping centre.

62. COLOUR SCHEMES
2. THE FUNCTION OF THE AREA
It must be determined whether the location is to be
used for work, recreation, quiet concentration, noisy
machinery, long occupation or brief casual visits.

63. COLOUR SCHEMES
3. THE ASPECT AND LIGHTING
The colour of any surface depends upon the type,
direction and amount of light that it receives. A
colour or colour scheme viewed under natural
light will change when viewed under artificial
light.

64. 3. THE ASPECT AND LIGHTING
• Natural light also changes from one room to
another e.g. a room with a northern aspect
receives no direct sunlight and may seem rather
cool while a room with a southern aspect will
receive long periods of sunlight and appear
warmer.
COLOUR
SCHEMES

65. 3. THE ASPECT AND LIGHTING
• The amount of light will also influence colour e.g.
a colour which may appear pale but colourful in a
well-lit situation will seem much darker, dull and
lifeless under poor lighting conditions
COLOUR
SCHEMES

66. 4. THE SIZE AND SHAPE
The proportions and overall size of the area have
to be considered. By the incorrect use of colour a
corridor can be made to appear tunnel-like, while
if the correct colours are chosen then the same
corridor can have the apparent length reduced
and be made to appear wider.

67. 4. THE SIZE AND
SHAPE
Domestic decoration varies
greatly and one of the main
considerations and in many
cases the only limiting
factor is personal taste.
Consequently there is little
point in the designing of a
colour scheme only to
discover that the basic hue
is disliked by the
householder
Theory behind the colours

68. GENERAL COLOUR HINTS
•Do not use too much colour, the effect is just as bad as too
little colour.
• All colours look dreadful when in the wrong proportion.
•When used in the correct position, the softer colours are
much bolder.
•In a room, pastels without relief can look anaemic
•These same pastels, when used with black and white, are
much livelier.
You should now be able to complete the
following formative and summative
assessments