Colour Theory

College of Architecture, Trivandrum.

ACHROMATIC COLOURS
Black, white and gray, the colours devoid of hue
Black, white & gray are excluded from the Colours
CHROMA
Chroma is the degree of saturation of a surface Colour

GRAY
An Achromatic colour, intermediate in lightness between black and white
HUE
The attribute of a Colour by which it is distinguished from another. All Colours are
judged to be similar to one or a proportion of two of the spectural hues together with
lightness and saturation hue is one of the three basic Colour terms. Physically hue is
determined by wavelength.
SHADE
Black added to a colour darkens the hue and makes shade of it.
TINT
White added to a colour makes its tint.
TONE
A colour differing slightly in any way from a specified colour.
LIGHTNESS
The amount of grey in a Colour. Lightness is also the attribute of a visual sensation,
by which an area is judged to transmit or reflect, diffusely a greater or smaller proportion of
the light falling on it.
Ex: brightness of a blue sweater may, decrease greatly when its wearer walks from
sun shine. Into shadow.
Legibility at a distance- legibility is the capability with which a figure or shape can be
recognized against its back ground.
--1--

BLACK ON YELLOW IS THE MOST LEGIBLE COMBINATION

Black on orange
Yellow orange on navy blue
Black on white
Navy blue on white
White on navy blue.
SOLAR SPECTRUM
Newton the profound thinker and discoverer of the laws of gravitation contributed
much to the science of light and color. He obtained a glass prism and, in a darkened room,
allowed a ray of sunlight to enter through a slit in a window shade and pass through the prism
the ray of light bend or refracted by passing through the prism, produced the beautiful band
of rainbow Colours that is called the solar spectrum.
Red, orange, yellow green, blue and violet, indigo.
ILLUSION AND VISUAL EFFECT
Aroom can be made to appear warmer or cooler, larger or smaller, and even as if it
had a higher or a lower ceiling, simply by the proper selection and arrangement of colours.
Tints and shades of red, orange, yellow, are known as warm or advancing Colours. Their use
in decoration produced a warm, cheerful and stimulating sensation and the visual effects of
advancing.
TO MAKE A LARGE ROOM APPEAR SMALLER
Use warm Colours patterned wallpaper, make trim a different Color from that of the
walls. To make high ceiling appear lower: Use warm colors, drop ceiling with molding,
horders, or friezes. The wall design, if any should be in horizontal gradations.
Tints and shades of blue, green, and blue-green are known as cool or receding colors,
because that give a cool, quite, and restful effect and seen to present greater depth or
distance. A room treated in green is individual, restful and suggestive of the out-of-doors.
--2--

To make a small room appear larger: Use plain color for the walls, and choose cool
colors; paint the walls and trim the same hue.
To make a low ceiling appear higher: Use cool colors, vertical striped wallpaper.
LIGHT AND PIGMENT PRIMARIES
Red, Orange, Green and Violet
Light primaries used for theatrical experiment with black background. Light
Primaries work up in value. When the beams of red-orange and violet overlap, we het a
luminous magenta-red or crimson. Violet and green super imposed yield blue, while red
orange and green yield yellow. And all three will produce white light.
The pigment primaries areBlue, Yellow and crimson red. In this the overlapping
obliques of blue and crimson-red yield violet. The blue and yellow yield green, and the
crimson-red and yellow produce orange. All three pigment primaries, when super imposed
produce black. This method is subtractive, or the negative use of color.
AFTER IMAGE
An image retained in mind by the direct stimulation of the color of a visual object
after that object has been withdrawn from view.
Ex: concentrate thirty second or so on a green object, the withdrawn it from view and
immediately place a white card in front of you. That object then appears before you on the
card in complementary color (red).
JUXTAPOSITION
Juxtaposition means the placement of colors side by side or close together. Each color
is affected by its surroundings and by light variations. For instance, yellow on a white
background seems dim compared to yellow on a black background. Grey on white looks
dark, whereas the same gray on black appears lighter.
OPTICAL ILLUSION
Since red rays are less bent than blue rays, anyone is likely to misjudge the distance
of a red object and a blue object in juxtaposition. If two such objects are equidistant from the
eye, the red object is usually judged to be the nearer.
--3--

LEGIBILITY AT A DISTANCE

Legibility is the capacity with which a figure or shape can be recognized against its
background. Many experiments have been conducted to determine which color combinations
can be perceived at the greatest distance.
Color Combinations:
Black on yellow
Black on Orange
Yellow- orange on navy blue
Bottle green on white
Scarlet-red on white
Black on white
White on Navy Blue
Yellow-Orange on Black
White on Purple
Purple on White
Navy Blue on Yellow
Navy Blue on Orange
Yellow On Black
ADAPTATION
The eyes tendency to reduce difference in the changing brightness and color of a
scene. On entering a dark room, the pupils of the eyes dilate to admit more light. Color
enables us to make accurate color judgements in vastly different lighting conditions.

ADDITIVE COLOR MIXING

When light beams of different colors are projected on to a white area, the light
reflected is a mixture whose color derives from the adding together of the colors of the
beams.

--4

ADDITIVE PRIMARIES

A set of colors that can be combined to form a wide range of colors by additive color
mixture, but not capable of being produced from each other.
BRIGHTNESS
An ambiguous term, meaning the intensity of a light source.
CHROMA
In the Munsell system, Chroma is the degree of saturation of a surface color.
CHROMATICITY
The color quality of a visual stimulus chromaticity makes no reference to the
brightness of the light. Chromaticity corresponds to the hue and saturation of the color
perceived by a standard observer under standard conditions of illumination.
COLORIMETER
A device for specifying a color by matching it with a known stimulus that can itself
be specified quantitatively.

COLOURS
The attribute of a visual sensation or by extension, an object or a light that can be
described by such terms as red, green, white, black and so on. The Colour Perceived as
belonging to an area depends on the composition of the light reflected from it,

the

surrounding visual field and the state of the observer his expectations state of adaptation and
so on.
Perceived Colour has three basic dimensions:
Hue, saturation and lightness or darkness.

--5

COLOUR FULLNESS

A term coined by C.I.E (Commission International del Eclairage) as a synonym for

saturation or intensity as descriptive of Colour.
COLOUR SOLID
An imaginary systematic arrangement of Colours in three dimensions. In such
arrangements white and black are invariably placed at the top and bottom respectively of a
vertical axis; each Colour is placed at a height corresponding to its lightness (assuming the
solid is composed of surface Colours) at a distance from the axis (north, south-east etc.)
depending on its hue.

COLOUR TEMPERATURE
A specification of the proportions of light of various wavelengths present in a given
sample of light. It thus describes the overall Colour of the light and is not necessarily related
to the temperature of the light source. Thus to say that a fluorescent lamp has a colour
temperature of 4,500 degree K: (k=kelvins a scientific unit of temperature) means that it
gives out a whitish light resembling that emitted by whitehot body at 4,500 degree K: but
the gas in the tube is not actually at the temperature.

COMPLEMENTARY COLOURS
Pairs of light which when mixed together in the from of light beams, produce white
light; for example, blue light and yellow light of the right intensities will add to give white
light.

DISPERSION
The separation of light in to colours by refraction, more generally, the separation of
any type of radiation in to its component wavelengths.

--6

FLUORESCENCE
The emission of light following the absorption of light of shorter wavelengths. Thus
fluorescent paints absorb the invisible ultraviolet radiation present in sunlight and emit some
of the energy as coloured light.

GRAY
An achromatic Colour intermediate in lightness between black & white.
HUE
The attribute of A colour by which it is distinguished from another all Colour are
judge to be similar to one or a proportion of two of the spectral hues. Thus crimson vermilion
and pink though different colours are close in hue.

INTENSITY
The measurable brightness of a light source a synonym for saturation.

LIGHTNESS
The amount of white in a colour. Lightness is also the attribute of a visual sensation
by which an area is judged to transmit or reflect diffusely a grater or smaller proportion of
the light falling on it. Thus althought the brightness of a powder blue sweater may decrease
greatly when its wearer walks from sun shine in to shadow.

LOCAL COLOUR
A term used by artists to describe thetrue colour of an object seen in average day
light from near by, so that its colour is not affected by, for example distant, mountains look
blue although their local colour may be gray.
METAMERIC PAIR
Two surface or other light source that look the same colour to a standard observer but
the light mixtures they send to the observers eye have different wavelength compositions. If
the illuminant is changed, a metameric pair will usually appear different colours. The most
familiar example is a pair of fabrics that look the same under fluorescent store light (because

the mixture of wavelength in their reflected light stimulate the eye to give the same response)
but do not match in day light.(Because the compositions of the light reflected from the dyes
in the two samples have shifted and how stimulated the eye in different ways).

OPTICAL MIXTURE
The complaining of differently coloured lights by the eye to produce a new colour.
The apparent bending of the colours on a multi coloured spinning wheel (A kinetic colour
fusion disk) is an example. Blending of the dots in a coloured painting to give the impression
of a continuous range of coloures.
PIGMENT
An insoluble colouring material requiring to be applied to a surface in conjunction
with a binding material. Pigments coat the colour of the under laying surface rather than
combining with it.

PURITY
A synonym for saturation
Secondary colour
A colour obtained by mixing two or more primary colours.
Shade
In common usage a colour different slightly from a specified hue or colour.
In industry the term is used a colour obtained by mixing with gray or black.

STRUCTURAL COLOUR
Colour that is not due to the presence of some pigment or other colouring material, but solely
to the action of light upon the geometry of a transparent medium. Example are the iridescent
colours of an oil film or of the thin scale on a butterflys wings which change with the angel
of view.

-8-

SUBSTRACTIVE COLOUR MIXING

The production of colours by mixing dyes or pigments or super imposing transparent
coloured filters:- The resultant colour is the result of the simultaneous or successive
substraction of various colours from the light passing through the combination.

SURFACE COLOUR
Colour belonging to a surface that sends light to the eye by diffuse reflection. The
perception of surface colours is strongly influenced by their context and by judgement
consigning their conditions of illumination.
COLOUR VISION
True colour shows in sunlight

colour changes in artificial light

no light: no colour

Colour speaks

stop, pass, peace etc

Colour works

focus, attract, repell, provoke etc

Colour impart

warmth/cool

Colour has volume

LBH (Length, Broad, Hight)

Colour set moods

depressed energized, sleepy, restful, angry etc

Colour has weight

heavy to light

In interior design these are applicable contextually

MUNSELLS COLOUR SYSTEM

Albert H.Munsell, American professor and colorist(1858-1918), created a colour
notation and system much used today by pgysicists and by various industries. His system is
an orderly sequence of colour presented three dimensionally in the general form of a solid
comprising a white and black apex, a neutral gray axis, pure hues about an equator, and
intermediate gradations of tints, shades, and tones in precise arrangement. According to
Munsell the three dimensions of colour hue, value, and chroma. His system follows the
general shape of a sphere; but because all pure colors do not have identical brightness or
purity,light hues like yellow are placed near the white apex, and dark colour link purple are
placed near the black apex also colour of strong purity of such as red-extend further from the

Neutral gray axis than colors like blue green. This feature makes possible certain flexibility
to the system, in case pigments of stronger purity should be brought out on the market. There
are nine value steps from black to white on the apex. Hue is delineated around the equator of
the sphere, value is shown up and down the vertical apex, and chroma is measured on a
horizontal plane from the apex outward.

OSTWALDS COLOUR SYSTEM

Wilhelm Ostwald, a German chemist and colorist (1853-1932), developed in a
somewhat similar system in the form of a double-cone solid. Ostwald set forth the principle
that every color seen by the eye is composed of varying proportions of hue,of white,and of
black and that all such components are measurable. The circumference of his double cone is
made up of twenty four chromatic hues, designated by numbers from 1 through 24. The
central pole presents a gray scale of eight steps, from white to black, each one designated by
a letter. In measuring brightness Ostwald found that the whitest pigment contains only 89 per
cent of white and the blackest black,96.5 per cent of black. So he has arranged the grays
visually equidistant in a geometrical ratio. His system of hue, white, and black as the
elements of color was a striking departure from older systems. His solid has a limitation , in
that its end points are at all times and cannot be extended in the manner of the Munsell
system.

VALUES
Light values

-- White, Very Light Tint, Light Tint & Tint Neutral Gray is the Intermediate
between Black and White.

Dark Value

-- Shade, Dark Shade, Very Dark Shade & Black

PRIMARY COLOURS
Set of colours that can be combined in a colour mixing process to produce a wide
range of colours, but two will together produce the third.
Eg: Red, Yellow, Blue

SECONDARY COLOURS
Acolour obtained by mixing two or more primary colours.
Eg: Green, Violet, Orange
TERTIARY COLOURS
Colours formed by mixing two secondary colours.
Eg: Olive, Russet, Sitron
LOCAL COLOUR
Aterm used by artists to describe the true colour of an object seen in average day light
from near by.
Distant mountains look blue although their local colour may be gray.
COMPLEMENTARY COLOURS
Pairs of colours which, when mixed together in the form of lights beams. Produce
white light.
Ex: Blue light and yellow light of the right intensities will add to give white light.
Red + Green + Purple.

SATURATION (PURITY)
A term used to describe the strength, or vividness of a hue. (The colourfulness of a
hue is generally known as its saturation)
Intense, pure or strong chroma, like the large circles.
Greyed, neutral or weak chroma-(see Tones)
Light, Whitish tint, high valuessee tints
Dark, blackish shade, dark valuesee shades
Warm advancing- see Top group of colours red, yellow, Orange
Cool, Receding see blue, Green and Violet colours.
SPECTRAL COLOURS:- The colours that appear in the spectrum of sunlight. (Newtons
theory) The ray of light, bent or refracted by passing through the prism. Produced the
beautiful and of rainbow colours that is called the solar spectrum.
Violet, Blue, Green, Orange, Red, Yellow, Indigo

VIOLET (PURPLE)
These are the high frequency variations of mystery and martyrdom. It show
discrimination and tend to suggest things mysterious and occult. In its lower variations, violet
denotes penance and melancholy.

BLUE
Blue is the spiritual colour, associated with sky and water, being clear cool and
transparent in quality. It is found to be the most soothing, subduing and cooling colour,
leading the mind to thoughtfulness and delibration.

GREEN
This is natures colour associated with outdoorscool, fresh and rejuvenating in
quality. Psychological tests provide it to be a tranquil colour for eg: Hospitals Being cool in
nature it helps to overcome the physical discomforts of high temperatures. Green is the
vibration of individuality, manifestation, and the essence of things personal possession and
wealth.
YELLOW
This is an enlightening vibration. The cheerful, brightening colour of light and
wisdom. The hue transcends the intellectual and reaches up in to the realm of intuition high
spirituality, and intelligence. Yellow the hue of highest visibility.
ORANGE
Orange is a thermal colour of warm invigorating quality. Its vibration of vitality and
strength is suggestive of the living pulsating life force.
RED
This hue is stimulating and exiting; it is suggestive of heat and heart beat. It has a
physical vibration that stirs the emotions.
The more cheerful phases of this hue include warmth, joy, pleasure, and sense
stimulations. Because of its striking, aggressive visibility and compelling vibration, red is
universally accepted as a danger signal.

COLOR CIRCLE (COLOUR WHEEL)

As a matter of convenience, colorist, reproduced the spectral band as closely is
possible with coloring materials, adding the missing purples, to form a colour wheel or color
circle.
The equilateral triangle points to the three fundamental pigments.

A-- Primary
B-- Secondary
C-- Tertiary

Perspective is an optical effect which makes things close to us larger than the same object
viewed at some distance.

ADDITIVE COLOUR MIXTURE

When the three additive primaries, red, blue and green are mixed in proper
proportions in the form of overlapping beams of light, white light is produced.
If any two lights can be mixed to form white light, they are called complements or
complementary hues. White light can be therefore be produced by adding any primary and its
complement in the proper proportion.
Complement of Green

--

Magenta

Complement of Red

--

Cyan (Blue + Green)

SUBTRACTIVE COLOUR MIXTURE

A transparent object such as a film or filter, looks coloured if it transmits light of a
certain wavelength selectively and absorbs or subtracts its complement from the incident
light.
If light is passed in succession though two filters of different colours, each will
subtract the complement of the colour that it transmits. This is sometimes called subtractive
mixture. For instance, if white light is passed first through yellow filter and then through
cyan filter the transmitted light will look green because the yellow filter will subtract blue
light and cyan filter will subtract red light from the incident white light.
This shows that if white light is passed through a pair of filters yielding any two of
the three subtractive primaries, cyan, yellow, magenta the transmitted light will match the
corresponding addictive primaries , red, blue, green. If white light is passed in succession
through filters of the three addictive primary hues each absorbs light in two thirds of the
spectrum and the result, will tend towards black. Ina a very general way the subtractive
primaries are the complements of the addictive primaries. They are yellow (minus blue)
Magenta (Minus green) and Cyan (Minus Red).

OVERLAPPING COLOURED FILMS