The document discusses colors and their use in interior design. It explains that there are over 10 million identified colors and explores how colors can be used to establish mood, personality, and remove monotony in a home. It describes the primary sources of color as light and the perception of reflected light. The key types of colors are defined as primary, secondary, tertiary, tints, tones, shades, and it provides a color wheel to illustrate the relationships between different hues. Psychological aspects and symbolic meanings of different colors are outlined. Warm and cool colors are contrasted and their suitable uses explained.

2. There are 10 million colours
identified till now!

3. But why do we need to study
them in Interior?

4. Colours in Interior
• Removes Monotony
• Enhances the beauty
• Establishes the Mood
• Establishes the Personality of the Home
• Colour leaves an impression of our expressions on others

5. Source of
Color
o Light is the Source of the
color.
o Our eyes apprehend the
color of the reflected light as
the color of the object.
o Black surface absorbs the
entire spectrum.
o White surface reflects all of it.

6. TYPES OF COLOURS

7. PRIMARY
COLOURS
These are colours that cannot
be achieved by mixing any
other colors.
They are colours in their own .
Three primary colours
RED, YELLOW and BLUE.
Primary colours can be mixed
together to produce secondary
colors.

8. SECONDARY
COLOURS
• Three Secondary
Colours
• Orange, Green,
and Violet
• These colours
are formed by the
mixing of two
primary colours .

9. TERTIARY COLOURS
• Six Tertiary Colours
• Red-Orange, Yellow-
Orange, Yellow-Green,
Blue-Green, Blue-Violet,
and Red-Violet
• These are produced by
the mixing of two or
more secondary colours

10. COLOUR
WHEEL

11. TINT
• When you add white to a
hue and raise the value

12. TONES
• When you add grey to a
hue.

13. SHADE
• When you add black to a
hue and lower the value

14. HUE
• Hue is the attribute by which we recognize
and describe a color such as red, yellow,
blue, green etc.
• The difference between red and blue is the
difference in their hue.
• If a person wishes to change the hue of a
colour, he/she will mix it with some of a
neighbouring hue.
• For example: some red and blue will change
it to purple.

15. VALUE
• The degree of lightness or darkness of a
hue in relation to black and white.
• White has the highest value (tint).
• Black has the lowest value (shade).
• Light colours-recede.
• Dark colours- advance.
HIGH
VALUE
LOW
VALUE

16. SATURATION
• Saturation is the intensity/chroma or
purity of colour, i.e. it represents its
brightness or dullness.
• Saturation is the intensity of a hue from
grey tone.
• Saturated colour are often reserved for
small areas like hall-ways or
cloakrooms where people do not spend
more time .
• Less saturated colour are more
suitable for large areas .
ZERO
SATURATED
HIGH
SATURATED

17. WARM COLOURS
Raise the perceived temperature ofa room.
They are used in rooms facing NORTH ,EAST direction .
Warm colours are used in design to show passion,enthusiasm,energyand happiness.
As these colours inspire activities, avoid them in rooms that are meant for relaxation, like
bedroom.
Best forcold climaticregions.
The positiveaspects ofthis are a closer, cozier feelingenvironment.If you havea large space
that lacks an intimate appeal,consider usingcolors from this part of the spectrum.

18. COOL COLOURS
Avoid them in cold climatic regions or a
room that receives little natural light as it
makes occupants feel cold.
It can helps us to increases spaciousness of
a room .
These are used in rooms facing SOUTH,
WEST direction .
Cool colour are used in design to show
calm, restful and professionalism

19. LIGHT COLOUR
• Lighter tones are more reflective and
are interpreted as moving away from
us.
• They give us illusion of more space.
• Applying a vibrant colour to a wall
preceded by light colored walls will
create the illusion of a wider room.

20. DARK / BRIGHT COLOUR
• Deeper, darker colours tones reflect less
light and appear closes to us.
• This give us illusion of less space.
• Using bright colours like
orange and especially yellow, they
reflect more light and excessively
stimulate a person’s eyes which can lead
to irritation.

21. Dominant
and Non-
Dominant
Colours

22. Dominant Colours
Primary colours, though, are the most
dominant (followed by secondary,
then tertiary colors) because red, blue
and yellow can't be created by mixing
other colours. The eye also perceives
dominant colours in the foreground of
images and documents.A colour that
is dominant will hold its hue despite
its surroundings.

23. USES OF
DOMINENT
COLOURS
IN ARCHITECTURE
• Colours and their perceptions are responsible for a series of
conscious and subconscious stimuli in our psycho-
spatial relationship.
• Colours and their perceptions are responsible for a series of
conscious and subconscious stimuli in our psycho-
spatial relationship.
• Pastel yellow gives the impression of sunny, friendly, soft. The
message in the interior space is stimulating,brightness, coziness.
Red is arousing, passionate, provocative,fiery, aggressive. The
message in the interior is aggressive, advancing, dominant.
Green is balancing, natural,calm with the message of simplicity,
security, balance.
White expresses open, vast, neutral, sterile. The message being
purity, sterile, emptiness, indecisiveness.
• Colour is an integral element of our world, not just in the natural
environment but also in the man-made architecturalenvironment.
• The impression of a colour and the message it conveys is of utmost
importance in creating the psychologicalmood or ambiance that
supports the function of a space.

24. USES OF NON DOMINENT
COLOURS IN ARCHITECTURE
Saturation determines the amount of non-dominant colours with
respect to the dominant colours.

25. COLOUR
SCHEMES

26. COMPLEMENTARY
COLOURS
• THESE ARE COLOURS THAT ARE DIRECTLY ACROOS FROM EACH OTHER
ON THE COLOUR WHEEL.
• THE STRONG CONTRAST BETWEEN THE TWO COLOURS MAKES FOR A
SUCCESSFUL COMBINATION.
BLUE & ORANGE
RED & GREEN YELLOW & VIOLET

27. ANALOGOUS COLOIRS
THE ANALOGOUS COLOUR
SCHEME IS A COMBINATION
OF THREE COLOURS LOCATED
RIGHT NEXT TO EACH
OTHER ON THE COLOUR
WHEEL.

28. MONOCHROMATIC
COLOURS
THIS COLOUR SCHEME IS MADE UP OF
TINTS AND SHADE OF SAME COLOUR.

29. Triad Colour
Schemes
They mean three hues
Evenly spaces on a colour
wheel

30. Square
All 4 Colours spaced Equally

31. Split-
Complementary
Relationship
One hue plus two others equally
spaced from its complement
(neighbor of complementary colour

32. Tetradic All 4 colours arranged into two complimentarypairs

33. Compound Colours
They are the colourscontaininga mixture of the
three primaries. All the browns, khakis and earth
coloursare compund colours.

34. PSYCOLOGY OF COLOUR

35. Psycologicalvalue of a colour is a
very important aspect .
The colours are instilled with
meaning by the expression of the
total , not by the colour of individual
parts.

36. ASPECTS OF COLOUR TO
UNDERSTAND THE
PSYCOLOGY
1. COLOURS AFFECT THE MOOD OF AN INDIVIDUAL
• Colours have a strong effect on emotions. Because of
its emotional effect , is largely responsible for
atmosphere of any space.
• Cool colours have quietening influence . on the other
hand warm colours have cheerful, comforting effect .
1. ASPECTS OF COLOUR IN VISION
Yellow has the effect of cheerful gaiety,
optimism in the home. gives a effect of
sunlight.
Blue is associated with waterand
sky , gives a cool effect.

37. 2. COLOUR HAS
DIMENSION
• Colour can make an object appear larger
or smaller .
• A light coloured object appears larger
than a dark coloured object.
• Cool colours carry an illusion of distance
. thus cool colours seem to recede.
• Warm colours seem to advance.
A room can be made appear oblong with receding
or cool colourson three walls and an advancingor
warm colour on the one wall of the room.

38. 3. COLOUR HAS
WEIGHT
• It can make an object appear
lighter or heavier.
• A white coloured object will
appear lighter than a similar
object in dark colour.
• Interiors dark colours should be
preferred for carpeting or for
floor mats and lighter colours sh
ould be used at higher levels.
• white being the lightest of all,
used for painting the ceilings ,
gives the impression of
being away from the head.

39. 4. COLOUR HAS
MOVEMENT
• It can make an area of an object appear
nearer or farther away.
• Light blues and violet tend to recede and
bright.
• Dark reds, yellow or orange appear
to advance.

40. 5. COLOUR HAS
TEMPRATURE
• A quality of colour ,gives the feeling
of warmth and coolness.
• Red / orange / yellow gives the sensation of
warmth , as they are associated with sun and
fire.
• The temperature of a colour can be changed.
Yellow with green looks cooler
Red with yellowlooks warmer

41. 6. EFFECT OF
COLOUR ON
EACH OTHER
• The colours lying opposite to each other in
the colour chart are called complementary
or contrasting colours.
• Sometimes, the effect of one colour upon
the another is so strong that in the eye of
observer non-existent hue will appear,
called after image.
• After image is a complement to original hue,
can change the appearance of the colour.
EX- if one look fixedly at a spot of
bright orange colourfor about half a
minute then it looks at white surface ,
a bluish green spot will appearon the
white surface.

42. 2. ASPECT OF COLOUR FOR SYMBOLISM
WHITE LIGHT, FAITH AND PURITY, JOY AND GLORY
RED BRAVERY , COURAGE, SACRIFICE
BLUE SIGNIFIES TRUTH , PIETY, SECURITY
BLACK GRIEF AND SORROW
GREEN NATURE, HOPE , YOUTH
PURPLE HIGH RANK , ROYALTY , SACRIFICE
ORANGE STRENGTH AND ENDURANCE
YELLOW HONOUR AND ROYALTY

43. 3. EMOTIONAL
ASPECT OF COLOUR
• It is largely responsible for the atmosphere
of any space.
• It is capableof soothing or irritating,
cheering or depressing, charming or
boring, welcoming or repelling.
• A colour changes its emotionalvalue if its
hue , value or intensity is changed.

44. Yellow
• It is indispensable, because more
than any other colour it gives the
effect of light.
• Gives an effect of cheerfulness ,
gaiety, buoyancy, optimism,
exultation,sympathy and
prosperity.

45. ORANGE
• Most vivid hue, possess qualities
of both red and yellow, so warm
that should be used in small
quantities.
• Expresses energy, spirit,
hope, courage,and cordiality.

46. RED
• Colour of fire and blood ,
associated with warmth.
• It is expressive of primitive
passion, war, vigour, power,
movement, aggression, boldness
and love.

47. BLUE
• Colour of clear skies and deep
water so associated with
coolness.
• Express distance, spaciousness,
and coldness, dignity,
calmness, reserve, coldness, lack
of sympathy ,etc.

48. GREEN
• Color of nature,
vegetation,associated with
refreshment and all pleasant
things.
• Cool in nature,gives hope and
feeling of wholesomeness.

49. PURPLE
• SOMEWHAT GENTLEAND VAGUE.
• SUGGESTMYSTERY,
DIGNITY, REFLECTING,
MOURNING.

50. BLACK
• Suggestmystery, wisdom, or
sophisticationand can
create dramatic effects.
• In light color scheme it gives
too much contrastand make
colors appear faded.
• In dark color schemes it adds
spirit and interests.

51. WHITE
• Express clarity, serenity,
luxury, peace, honesty, trust.
• Valuable for opportunity,
gives chance to display other
colors.

52. The Munsell
Color System

53. A.H. Munsell worked out a
color system that eleminates
much of the guess work.
• The north pole is white and south pole is
black.
• Munsell found out that if the hues were
in proper balance and the sphere were
rotated upon its nuetral axis at a high rate
of speed, the hues would blend together
to form a nuetral grey.

54. Factors Affecting
the Use of Colour
Scheme for Rooms
While planning colour schemes for
the rooms, it is necessary to
consider them for the entire home
as one unit to obtain an unifying
effect.

55. 1. Size & Shape
Small rooms gains spaciousness and appear larger with light, cool and
receding colours in the background and on the furniture too.
On the other hand, the warm advancing colours reduce the size of
the room and seem smaller and cramped.
A receding colour scheme will not only make the large room appear lerger,
but may also give a feeling of being empty and under-furnished.
Room's shape can also be changed in similar ways- a rectangular room can
be made to appear like a square one and square to the rectangular one

56. 2. Exposure
Room with too much light need dark subdued colours.
The rooms facing west, south and south-west receive the
maximum sunlight, and therefore become very warm,
especially in summers.
Rooms in the eastern and northern direction receive
comparatively lesser sunlight. These rooms are cool especially in
summers.
To counter this effect, cool colours in former rooms and warmer
colors in latter rooms should be opted.

57. Other Factors
I. Mood- A delicate feminine room can be done with dusty
pink or peaches while a masculine room in wine red,
brown or navy blue.
II. Style- The color scheme has to be done in combination
with the style of furniture, house construction and the
items used in the room.
III. Fashion- Draperies, fabrics and curtains are available in a
wide range of colours in modern markets, but large
furnitures are available in limited colours and this may
restrict the colour scheme one desires.

58. Other Factors
• Personality- A person's personality is shaped by her profession, place of living. Such factors
determine a person's personality and choice of colours.
• Use of Room- The use of room influences the colour scheme to a great extent,
because colour can help to emphasize the purpose of the room in addition to
contributing to its efficiency and comfort.

59. LIVING ROOM
• It should express cheer and hospitality along with the
restfulness and relaxation.
• Warm colours are usually the most desirable for
living rooms except in a summer home or in a
tropical home, where a simple cool scheme such as
white walls and a blue ceiling and floor is refreshing

60. OUTDOOR
LIVING ROOM
• It should employ some of the
indoor colours.
• The exterior of the house and
green of growing plants mustbe
considered when outdoor
furnishing are chosen.
• Outdoor colours should be few,
simple, direct, positive and cool.

61. Kitchens
• Cool colous are thought to counteract the
heat of the cooking.
• The colours of the sink, range, refrigerator,
which all should be alike must be the basis
of the collur scheme.
• White and light colours are best for
the visibility.

62. Examples

63. COMPLIMENTERY COLOURS

64. TRIADIC
COLOURS

65. SPLIT-
COMPLEMENTARY
COLOURS

66. HOSPITAL PRIMARY SCHOOL
SOMEPLACES HAVE A PARTICULARANDDEFINEDCOLOURSCHEMES

67. LOCAL
CLIMATE
COLOUR EFFECT IN NATURAL LIGHTING.

68. COLOUR IN DESIGN :
CHOICE OF COLOUR IN DESIGNHAS AN OVERWHELMINGEFFECT ON THE
WAY A BUILDINGISPRECEIVED BY THOSE THAT VIEW IT, WALK BY IT AND
OCCUPY IT EACH DAY.
DEFININGTHE BOUNDARIESOF A WALL OR ROOM, COLOURED
CIRCULATION DRAWS ATTENTION BY ACTIVATING STAIRCASES,HALLS AND
PLATFORM.
CHILDREN’S MUSEUM OFTHE ARTS
THE SEATTLE CENTRAL LIBRARY
THE TRANQUILOFFICE

69. Createa perfect spring living room by
choosing one main color and then add
details with the complementarycolour.
This is an easy way to explore bold
colours in your interior.

70. THANKYOU