Showing posts with label design lessons. Show all posts

The lighting in a space changes the mood of a room just as it does the perceived size of a room. Placement and type are important aspec...



The lighting in a space changes the mood of a room just as it does the perceived size of a room. Placement and type are important aspects of interior design, and they work in conjunction with color selections, room size, availability of natural light and furniture selection. The elements that come together when the right lighting is achieved transform a room into a seamless combination of functionality and style

LIGHT
Luminance – Refers to reflected or emitted by a surface.
Illuminance – Measure of light falling on a surface per square meter or lux.

ILLUMINANCE
Measure of light falling on a surface per square meter or lux.
It is measured in foot candles or lux (fc/lx)
Understanding lux
One lux is always equal one lumen per square meter.
        1lx = 1lumen/m2
        1 Kilo lux = 1000lx
A flux of a 1000 lumen in an area of 1 m2 will give  1000 lx but the same  flux in an area of 10 m2 will give an illuminance of 100 lx
            i.e.
                          1000 lx/ 1m2 =1000lx
                          1000 lx/10m2 =100lx

ISSUES OF ROOM LIGHTING
Room lighting affects most of our lives on a daily  basis .It influences our mood and sets the trend on the activities we partake  in that specific room.
Considerations in room lighting
-Room proportions this is to help in calculation of the lux levels to have in a room.
-Ceiling height
-Reflectance from various surfaces in the room ie from walls and ceilings etc
-Type of work to be done in the room.
-Color of surfaces
-Type of fixture/ pattern output efficiency-light loss due to ageing.
-Allowance for dirt conditions.

LIGHTING CONDITIONS
General lighting
Illumination on task
Combined general lighting and supplement lighting.

GENERAL LIGHTING
Use 30lx for public areas with dark surroundings
Use 75 lx for simple orientation for temporary visits.
Use 150lx  for working spaces where visual tasks are occasionally performed

ILLUMINATION ON TASK
Use 300lx for performance of  high contrast printed matter typed original handwriting in ink-ordinary inspection, rough bench and machine work rough assembly.
Use 750  lux for reading medium pencil, roughly printed work-difficult inspection and medium assembly
Use 1500 lx for high visual task handwriting  in hard pencil difficult inspection, high precision jobs eg chip assembly

ILLUMINATION ADJUSTMENTS
The maximum lighting ratio of 5:1 is recommended when passing from one area to another for adaptation and psychological reasons.
                     e.g. A corridor  next to a room with 750 lx should be at least at 150 lx

STANDARD LUX LEVELS CHART

The Design process is a series of steps that a designer takes when working on a project. The details of each stage will differ dependin...



The Design process is a series of steps that a designer takes when working on a project. The details of each stage will differ depending on the type of design but the approach will always be similar. It is vital to stick to the process during a design as skipping a stage, completing stages out of order of not using the process at all will result in a lower quality outcome, an outcome the client is not happy with or even worse no outcome at all.
A Step by Step guide to completing an Interior Deign Project using the stages of the interior design process is presented here; a process specific to completing interior design projects will help you complete your project to the highest standard possible. The steps of the interior design process are outlined below, they are not definitive but they are the recommended stages in order to achieve as successful outcome.

1 . Analyze the brief
Each design project will begin when a client delivers the designer with a brief. The brief will outline what the client wants although as the client will likely have no design experience it is important for the designer to carefully analyse all details given by the client and if necessary to make further enquiries about the needs of the client. The success of an interior design scheme will depend not only upon on the skills and creativity of the designer, but their ability to answer the brief set by the client. A good brief will be as detailed and project-specific as possible. It will outline the client's requirements and aspirations, set down a budget for works and the time scale in which the project must be realised.

2 . Identify the key requirements
Based on the analysis of the brief you must identify the most important parts. Ask yourself, what requirements must I fulfil? It is therefore important to identify and prioritise the key requirements of the brief. If the brief is not as detailed as you would like it may be a good idea to meet with the client and ask them some questions in order to discover their exact requirements, the style of design that would suit them, the spaces that their way of living will require etc.

3 . Create an accomodation list.
An accommodation list is a list of spaces/areas (as opposed to rooms) that will accommodate the activities of the client. If the brief is for the interior design of an entire house or office then the list may include activities such as living, dining, receiving, sleeping etc. While for a single space brief the list may include activities such as seating, storage, playing etc. Designing a space by rooms can be very restricitive and therefore designing to meet the needs of the client is a more direct and accurate approach.

4 . Draw relationship diagrams
Relationship diagrams follow on from the accommodation list and, as the name suggests, they
diagramatically present the relationship between the selected spaces. During this process it is important to consider factors such as light, noise, function etc. The function of each space will have an effect on where it is positioned within a building or, on a smaller scale, the function of an object/furniture piece will have an effect on where it is positioned within a space. To give justa single example of the multiple factors of relationships that are associated with an object, a desk will be best positioned near a socket (to allow a computer to be plugged), where it gets good natural/artificial light, away from nearby noise (so as not to distract from work), facing out a window or toward objects of interest (for inspiration) and  of course where there is room to sit comfortably at it. This seemingly simple example demonstrates the wide variety of factors which can effect the decision making process when positioning spaces or objects within spaces.

5 . Research existing designs
Research is important to identify possible design styles and ideas which may also suit the needs of your client. These samples can be used when meeting with the client to identify the style of design which they prefer. For students research will also help to familiarise yourself with industry standard designs and the quality of design which is required.

6 . Create concept designs
With the increase in design technology in recent years design concept designs can just as easily refer to 2D or 3D digital graphics as it can to traditional perspective drawings or floor plans. What remains consistently important is that your designs successfully display your ideas in a way that the client can understand and visualise. As well as the aforementioned perspectives it can also be useful to create 'mood' boards to help present the style and colour schme of your design concept. A mood board is a type of poster design that may consist of images, text, colours or textures samples of objects to communicate ideas to the client.

7 . Obtain Client Feedback
As an interior design project cannot be easily edited, like digital designs can, it is vital to get feedback from the client before proceeding with the implementation stage. Clients are often uncertain about what they really want so it is important to present your design concept in a positive manner and highlight the positive features of the design to the client. The reason for this is that an indecisive client may result in numerous design solutions being presented without any real progress being made. This stage can be a real sticking point in the design process and can result in wasted time and resources so remember that you are the designer and it is up to you to guide the client in their
decision making, that is why they hired you after all!

8 . Implementation phase
This is the fun part. Realising your design concept and seeing it come to life. This stage may require sub sections of its own depending on the size of the project. However it is impossible to say exactly how as the number of variables is almost unlimited but what is important is to plan this stage extensively before you begin by preparing and clearing the space, ordering materials in advance and having them at hand on the day as well as hiring the staff required to get the project completed on time and within budget.

9 . Evaluate the Design
Reflecting on a completed design is important in order to ensure you learn from experience and identify the successful parts of the design to allow you to replicate them in future design projects as well as identifying the parts of the design that did not go well in order to avoid or solve them in future designs.It may also be useful to get the opinion of others at this stage if you fear you will be unable to objectively evaluate your own design. As well as the design itself it is just as important to reflect on your process and ask yourself some questions such as, did I meet the requiremnets set out  in brief? Did I keep to the budget? Did I complete the project on time? If the answer to any of these question is 'No' then you you need to assess your design process and identifying flaws in it or areas where you can be more efficient.

Integrated Design Because of the complexities of different building components and systems, understanding those systems requires spe...


Integrated Design
Because of the complexities of different building components and systems, understanding those systems requires specialized knowledge. Specialized roles have therefore been created around the design, construction and maintenance of buildings and interiors. The roles can include those of the architect, interior designer, MEP (mechanical, electrical and plumbing) engineer and general contractor.
In a large and complex project, many more roles can exist. Although the design of any building or interior requires the work of all of these professionals, the design process is not traditionally collaborative. A more collaborative process, “integrated design,” will be contrasted with the traditional process to better illustrate opportunities for more environmentally beneficial design.

Traditional Design
Traditional design is a linear process in which no team member is fully cognizant of the methodologies and goals of other members. When one member of the project team completes his or her portion of the project, the drawings are handed off to the next member of the team to complete the next portion, and so on down the line.
       For example, once the architect has completed the schematic design, the structural engineer “engineers” the building in accordance with the preliminary drawings, then the mechanical engineer designs the building systems within the constraints that resulted from these schematics. Finally, after these key decisions have been made, the interior designer receives the drawings, too late to provide feedback about most aspects of the building’s design. At this stage, it would be both time consuming and expensive to make changes to the baseline documents, so many opportunities to tailor the interior design are lost.
       The traditional design process is good at producing buildings that achieve conventional performance levels. But if a project’s goals include high-energy performance and exceptional human comfort and health, this process, even when each individual has good intentions, fails to capitalize on opportunities to bridge different areas of expertise. For example, the architect may design a building with large expanses of south-facing windows, which he or she perceives as benefiting the building’s lighting and heating. By the time the MEP engineer sees the design, however, it is too late to add exterior light shelves, which would limit glare and heat gain during the hottest times of day. He or she is forced to engineer a larger system to compensate for the likelihood of enormous heat gain associated with the large southern exposure.
       Finally, the interior designer may have wanted to specify raised access floors with underfloor air distribution as a strategy for a flexible office layout, but the engineer has already specified a detailed ventilation system using the ceiling plenum for distribution. Nor did the designer have the opportunity to suggest to the architect a different module size for the building’s structural system that might work more efficiently with the client’s existing system’s furniture, and which might have allowed for greater day lighting potential and less wasted interior space.
In this traditional approach, in either a commercial or residential project, the architect, engineer, interior designer and the client may never sit down together to discuss and understand the goals of the project. As a result, individual team members typically end up inadvertently working at cross purposes.
    Integrated Design
Integrated design is a collaborative design process that recognizes the relations among building systems and among the team members that design and install those systems. Integrated design therefore requires participation of all members of a project team in order to optimize the performance of the building and the way in which it is built. The integrated design process, including participation by the interior designer, is already widely recognized in commercial building and renovation projects, and a body of knowledge has grown about its application.
These concepts are, with little modification, equally applicable to new homes and residential renovations.
An integrated design process often begins with a charrette, a group brainstorming session often taking place over a number of days, which can effectively kick off the project design by providing a forum for articulating goals and sharing ideas. The charrette is an excellent time to bring in the early and active participation of the full design and construction team. Many of these participants are not traditionally included in the early phases of design, but the process is exponentially enhanced with their involvement.

Integrated Design and Sustainability
When green building features are viewed as simply another step in the design process, or an “add on,” the resulting design often has lower levels of environmental performance and higher cost. If a client wants to reduce energy use, it is far more
effective to design for energy conservation from the beginning of a project with, for example, site selection that reduces heating and cooling needs, than to spend a lot of additional money in retroactively insulating the building or re-engineering it to use less energy.
Many, if not all, of the major design decisions that most affect the sustainable performance of a building are made in the early phases of design. Some early decisions that can have large environmental impacts include site selection, building orientation, fenestration, and shell and glazing choices. With integrated design, the full team of professionals can provide early input relative to the environmental implications of those decisions. For example, if the architect is pursuing a day lighting strategy, the interior designer can contribute layout, lighting and color schemes that complement that strategy. Without early knowledge of the project goals, the designer may have pursued plans that would make the day lighting strategy less effective, which would, in turn, have increased energy needs and decreased occupant satisfaction relative to averages.
Another strategy with environmental benefits that calls for an integrated design process is the use of exposed thermal mass. Exposed concrete, brick or stone walls, and roof structures can reduce peak cooling loads, especially when coupled with a night-flushing system that expels the building’s heat and uses the naturally colder nighttime air to cool the mass. Implementing such a strategy requires collaboration among the architect, structural engineer, mechanical engineer and interior designer.
Additional members of an integrated design team might include an acoustical engineer, who analyzes and mitigates sound transmission issues caused by hard surfaces, and a lighting designer, who can offer energy efficient lighting considerations.


What’s your opinion of integrated design approach? 

ADDING COLOR TO YOUR SPACE(60-30-10.) Afraid of using color in your own home? Don't be. Decorating a space in terms of color is ...

ADDING COLOR TO YOUR SPACE(60-30-10.)

Afraid of using color in your own home? Don't be.
Decorating a space in terms of color is as easy as 60-30-10.Take a look at some rooms in magazines or in Designers' Portfolio. You'll notice that the rooms you like the most are almost invariably divided into percentages of 60-30-10. Why this works is anybody's guess.
Perhaps it is the human tendency to see an overall theme in the 60 percent hue, unifying the coloration. The 30 percent provides visual interest and the 10 percent, not unlike jewelry, provides that little spark of sparkle.



So, when decorating a particular room, divide the colors into percentages:
60% of a dominant color
30% of a secondary color
10% of an accent color

When you think about it, this color breakdown is similar to a man's business suit:
60% of the outfit's color is the slacks and jacket
30% of the outfit's color is the shirt
10% of the outfit's color is the tie

Translated to a room setting, it typically means:
60% of the room's color is the walls
30% of the room's color is the upholstery
10% of the room's color is, say, an accent piece or a floral arrangement

Dominant color

Rough 60 percent of the given space should be the dominant color. In the interior design terms, this color is for walls. Neutrals are the good choice for painting walls.

Secondary color

Next 30 percent should represent secondary color.

Accent color

The remaining 10 percent of the color scheme is for accent color. Accent color should be attractive. Warm vivid colors are good accents.

Using Color Harmonies

You can create harmonious combinations of color using split complementary color scheme, which exactly conforms this rule. Split-Complementary Color Scheme
This rich color scheme contains three different colors. One of these colors is complementary color, which should be used as accent color. Select dominant color and secondary color on the opposite side of the color wheel.
Example: Dominant = very light grayish yellow-green, Secondary = very light blue-green, Accent = light red.
Find out more details about other classic color schemes 

Introducing Fourth Color

Combination of three colors works well for the straightforward room decorating. However, you may want to apply more than three colors in your design, thus making the resulting color space more interesting. The only way to introduce a new color, is to split one of three colors. We should not split the accent color, because we do not want to lose accent. Instead, we can split secondary color without breaking the rule. While the hue of the secondary color remains unchanged, we can add a shade of the original color, thus preserving the whole harmony.
Exterior paints
You might find this "60-15/15-10" rule useful when selecting exterior paints for your house.
Conclusion
Remember, "60 30 10" is a recommendation. There is nothing wrong to use 65-25-10 or 60-29-11 proportions.
Furthermore, you can adjust colors to fit them to the requirements of the particular project.

How do different colors affect your mood? With colors you can set a mood, attract attention, or make a statement. You can use color ...


How do different colors affect your mood?

With colors you can set a mood, attract attention, or make a statement. You can use color to energize, or to cool down. By selecting the right color scheme, you can create an ambiance of elegance, warmth or tranquility, or you can convey an image of playful youthfulness. Color can be your most powerful design element if you learn to use it effectively.
Colors affect us in numerous ways, both mentally and physically. A strong red color has been shown to raise the blood pressure, while a blue color has a calming effect. Being able to use colors consciously and harmoniously can help you create spectacular results.

Warm colors include red, orange, and yellow, and variations of those three colors. These are the colors of fire, of fall leaves, and of sunsets and sunrises, and are generally energizing, passionate, and positive.
Red and yellow are both primary colors, with orange falling in the middle, which means warm colors are all truly warm and aren’t created by combining a warm color with a cool color. Use warm colors in your designs to reflect passion, happiness, enthusiasm, and energy.


R E D ( P R I M A R Y C O L O R )

Red is a very hot color. It’s associated with fire, violence, and warfare. It’s also associated with love and passion. In history, it’s been associated with both the Devil and Cupid. Red can actually have a physical effect on people, raising blood pressure and respiration rates. It’s been shown to enhance human metabolism, too.
Red clothing gets noticed and makes the wearer appear heavier. Since it is an extreme color, red clothing might not help people in negotiations or confrontations. Red cars are popular targets for thieves.
In decorating, red is usually used as an accent. Decorators say that red furniture should be perfect since it will attract attention.
The most romantic color, pink, is more tranquilizing. Sports teams sometimes paint the locker rooms used by opposing teams bright pink so their opponents will lose energy.
Red can be associated with anger, but is also associated with importance (think of the red carpet at awards shows and celebrity events). Red also indicates danger (the reason stop lights and signs are red, and that most warning labels are red).
Outside the western world, red has different associations. For example, in China, red is the color of prosperity and happiness.
It can also be used to attract good luck. In other eastern cultures, red is worn by brides on their wedding days. In South Africa, however, red is the color of mourning. Red is also associated with communism. Red has become the color associated with AIDS awareness in Africa due to the popularity of the [RED] campaign.
In design, red can be a powerful accent color. It can have an overwhelming effect if it’s used too much in designs, especially in its purest form. It’s a great color to use when power or passion want to be portrayed in the design. Red can be very versatile, though, with brighter versions being more energetic and darker shades being more powerful and elegant.
Dark red, when combined with white and gray, gives a very elegant and professional impression.
Red brings text and images to the foreground. Use it as an accent color to stimulate people to make quick decisions; it is a perfect color for 'Buy Now' or 'Click Here' buttons on Internet banners and websites. In advertising, red is often used to evoke erotic feelings (red lips, red nails, red-light districts, 'Lady in Red', etc. This color is also commonly associated with energy, so you can use it when promoting energy drinks, games, cars, and items related to sports and high physical activity.
Light red represents joy, sexuality, passion, sensitivity, and love.
Pink signifies romance, love, and friendship. It denotes feminine qualities and passiveness.
Dark red is associated with vigor, willpower, rage, anger, leadership, courage, longing, malice, and wrath.
Brown suggests stability and denotes masculine qualities.
Reddish-brown is associated with harvest and fall.


Y E L L O W ( P R I M A R Y C O L O R )

Yellow is often considered the brightest and most energizing of the warm colors. It’s associated with happiness and sunshine. Yellow is often associated with food. Bright, pure yellow is an attention getter, which is the reason why taxicabs are painted this color. It is the most difficult color for the eye to take in, so it can be overpowering when overused, yellow may have a disturbing effect people lose their tempers more often in yellow rooms, and babies cry more in yellow rooms. Yellow is seen before other colors when placed against black; this combination is often used to issue a warning.
In heraldry, yellow indicates honor and loyalty. Later the meaning of yellow was connected with cowardice.
Use yellow to evoke pleasant, cheerful feelings. You can choose yellow to promote children's products and items related to leisure. Yellow is very effective for attracting attention, so use it to highlight the most important elements of your design. Men usually perceive yellow as a very lighthearted, 'childish' color, so it is not recommended to use yellow when selling prestigious, expensive products to men - nobody will buy a yellow business suit or a yellow Mercedes. Yellow is an unstable and spontaneous color, so avoid using yellow if you want to suggest stability and safety. Light yellow tends to disappear into white, so it usually needs a dark color to highlight it. Shades of yellow are visually unappealing because they lose cheerfulness and become dingy.
Yellow enhances concentration, hence its use for legal pads. It also speeds metabolism.
Yellow can also be associated with deceit and cowardice, though (calling someone yellow is calling them a coward).
Yellow is also associated with hope, as can be seen in some countries when yellow ribbons are displayed by families who have loved ones at war. Yellow is also associated with danger, though not as strongly as red.
In some countries, yellow has very different connotations. In Egypt, for example, yellow is for mourning. In Japan, it represents courage, and in India it’s a color for merchants.
In your designs, bright yellow can lend a sense of happiness and cheerfulness. Softer yellows are commonly used as a gender-neutral color for babies (rather than blue or pink) and young children. Light yellows also give a more calm feeling of happiness than bright yellows. Dark yellows and gold-hued yellows can sometimes look antique and be used in designs where a sense of permanence is desired.
Dull (dingy) yellow represents caution, decay, sickness, and jealousy.
Light yellow is associated with intellect, freshness, and joy.

O R A N G E ( S E C O N D A R Y C O L O R )

Orange is a very vibrant and energetic color. In its muted forms, it can be associated with the earth and with autumn. Because of its association with the changing seasons, orange can represent change and movement in general.
Because orange is associated with the fruit of the same name, it can be associated with health and vitality. In designs, orange commands attention without being as overpowering as red. It’s often considered more friendly and inviting, and less in-your face.
To the human eye, orange is a very hot color, so it gives the sensation of heat. Nevertheless, orange is not as aggressive as red. Orange increases oxygen supply to the brain, produces an invigorating effect, and stimulates mental activity. It is highly accepted among young people. As a citrus color, orange is associated with healthy food and stimulates appetite. Orange is the color of fall and harvest. In heraldry, orange is symbolic of strength and endurance.
Orange has very high visibility, so you can use it to catch attention and highlight the most important elements of your design. Orange is very effective for promoting food products and toys.
Dark orange can mean deceit and distrust.
Red-orange corresponds to desire, sexual passion, pleasure, domination, aggression, and thirst for action.
Gold evokes the feeling of prestige. The meaning of gold is illumination, wisdom, and wealth. Gold often symbolizes high quality.


Cool colors include green, blue, and purple, are often more subdued than warm colors. They are the colors of night, of water, of nature, and are usually calming, relaxing, and somewhat reserved.
Blue is the only primary color within the cool spectrum, which means the other colors are created by combining blue with a warm color (yellow for green and red for purple). Greens take on some of the attributes of yellow, and purple takes on some of the attributes of red. Use cool colors in your designs to give a sense of calm or professionalism.

G R E E N ( S E C O N D A R Y C O L O R )

Green is a very down-to-earth color. It can represent new beginnings and growth. It also signifies renewal and abundance.
Currently the most popular decorating color, green symbolizes nature. It is the easiest color on the eye and can improve vision. It is a calming, refreshing color. People waiting to appear on TV sit in "green rooms" to relax.
Hospitals often use green because it relaxes patients. Brides in the Middle Ages wore green to symbolize fertility.
Dark green is masculine, conservative, and implies wealth. However, seamstresses often refuse to use green thread on the eve of a fashion show for fear it will bring bad luck.
Alternatively, green can also represent envy or jealousy, and a lack of experience; for example, a 'greenhorn' is a novice. In heraldry, green indicates growth and hope. Green, as opposed to red, means safety; it is the color of free passage in road traffic.
Use green to indicate safety when advertising drugs and medical products. Green is directly related to nature, so you can use it to promote 'green' products. Dull, darker green is commonly associated with money, the financial world, banking, and Wall Street.
Green has many of the same calming attributes that blue has, but it also incorporates some of the energy of yellow. In design, green can have a balancing and harmonizing effect, and is very stable. It’s appropriate for designs related to wealth, stability, renewal, and nature. Brighter greens are more energizing and vibrant, while olive greens are more representative of the natural world. Dark greens are the most stable and representative of affluence.
Dark green is associated with ambition, greed, and jealousy.
Yellow-green can indicate sickness, cowardice, discord, and jealousy.
Aqua is associated with emotional healing and protection.
Olive green is the traditional color of peace.

B L U E ( P R I M A R Y C O L O R )

Blue is often associated with sadness in the English language. Blue is also used extensively to represent calmness and responsibility. Blue is strongly associated with tranquility and calmness. In heraldry, blue is used to symbolize piety and sincerity.
Light blues can be refreshing and friendly. Dark blues are more strong and reliable. Blue is also associated with peace, and has spiritual and religious connotations in many cultures and traditions (for example, the Virgin Mary is generally depicted wearing blue robes).
The color of the sky and the ocean, blue is one of the most popular colors. It causes the opposite reaction as red. Peaceful, tranquil blue causes the body to produce calming chemicals, so it is often used in bedrooms. Blue can also be cold and depressing. Fashion consultants recommend wearing blue to job interviews because it symbolizes loyalty.
People are more productive in blue rooms. Studies show weightlifters are able to handle heavier weights in blue gyms.
You can use blue to promote products and services related to cleanliness (water purification filters, cleaning liquids, vodka), air and sky (airlines, airports, air conditioners), water and sea (sea voyages, mineral water). As opposed to emotionally warm colors like red, orange, and yellow; blue is linked to consciousness and intellect. Use blue to suggest precision when promoting high-tech products.
Blue is a masculine color; according to studies, it is highly accepted among males
The meaning of blue is widely affected depending on the exact shade and hue. In design, the exact shade of blue you select will have a huge impact on how your designs are perceived. Light blues are often relaxed and calming. Bright blues can be energizing and refreshing. Dark blues are excellent for corporate sites or designs where strength and reliability are important.
Light blue is associated with health, healing, tranquility, understanding, and softness.
Dark blue represents knowledge, power, integrity, and seriousness.

P U R P L E ( S E C O N D A R Y C O L O R )

Purple was long associated with royalty. It’s a combination of red and blue, and takes on some attributes of both. It’s associated with creativity and imagination, too.
In Thailand, purple is the color of mourning for widows. Dark purples are traditionally associated with wealth and royalty, while lighter purples (like lavendar) are considered more romantic.
In design, dark purples can give a sense wealth and luxury. Light purples are softer and are associated with spring and romance.
The dark shade used here evokes the royal heritage of purple, which is very appropriate for the Asprey luxury goods brand.
According to surveys, almost 75 percent of pre-adolescent children prefer purple to all other colors. Purple is a very rare color in nature; some people consider it to be artificial.
Light purple is a good choice for a feminine design. You can use bright purple when promoting children's products.
Light purple evokes romantic and nostalgic feelings.
Dark purple evokes gloom and sad feelings. It can cause frustration.

Neutral colors often serve as the backdrop in design. They’re commonly combined with brighter accent colors. But they can also be used on their own in designs, and can create very sophisticated layouts. The meanings and impressions of neutral colors are much more affected by the colors that surround them than are warm and cool colors

B L A C K

Black is the strongest of the neutral colors. On the positive side, it’s commonly associated with power, elegance, and formality. On the negative side, it can be associated with evil, death, and mystery.
Black is the color of authority and power. It is popular in fashion because it makes people appear thinner. It is also stylish and timeless. Black also implies submission. Priests wear black to signify submission to God. Some fashion
experts say a woman wearing black implies submission to men. Black outfits can also be overpowering, or make the wearer seem aloof or evil. Villains, such as Dracula, often wear black.

Black is the traditional color of mourning in many Western countries. It’s also associated with rebellion in some cultures, and is associated with Halloween and the occult.
Black is commonly used in edgier designs, as well as in very elegant designs. It can be either conservative or modern, traditional or unconventional, depending on the colors it’s combined with. In design, black is commonly used for typography and other functional parts, because of it’s neutrality. Black can make it easier to convey a sense of sophistication and mystery in a design.
When designing for a gallery of art or photography, you can use a black or gray background to make the other colors stand out. Black contrasts well with bright colors.

W H I T E

White is at the opposite end of the spectrum from black, but like black, it can work well with just about any other color. White is often associated with purity, cleanliness, and virtue. In the West, white is commonly worn by brides on their wedding day. Brides wear white to symbolize innocence and purity. White reflects light and is considered a summer color. White is popular in decorating and in fashion because it is light, neutral, and goes with everything. However, white shows dirt
and is therefore more difficult to keep clean than other colors.
It’s also associated with the health care industry, especially with doctors, nurses and dentists -Doctors and nurses wear white to imply sterility. White is associated with goodness, and angels are often depicted in white.
In design, white is generally considered a neutral backdrop that lets other colors in a design have a larger voice. It can help to convey cleanliness and simplicity, though, and is popular in minimalist designs. White in designs can also portray either winter or summer, depending on the other design motifs and colors that surround it.

G R A Y

Gray is a neutral color, generally considered on the cool end of the color spectrum. It can sometimes be considered moody or depressing. Light grays can be used in place of white in some designs, and dark grays can be used in place of black.
Gray is generally conservative and formal, but can also be modern. It is sometimes considered a color of mourning. It’s commonly used in corporate designs, where formality and professionalism are key. It can be a very sophisticated color. Pure grays are shades of black, though other grays may have blue or brown hues mixed in. In design, gray backgrounds are verycommon, as is gray typography.

B R O W N

Brown is associated with the earth, wood, and stone. It’s a completely natural color and a warm neutral. Brown can be associated with dependability and reliability, with steadfastness, and with earthiness. It can also be considered dull.
In design, brown is commonly used as a background color. It’s also seen in wood textures and sometimes in stone textures. It helps bring a feeling of warmth and wholesomeness to designs. It’s sometimes used in its darkest forms as a replacement for black, either in backgrounds or typography.


B E I G E  A N D  T A N


Beige is somewhat unique in the color spectrum, as it can take on cool or warm tones depending on the colors surrounding it.
It has the warmth of brown and the coolness of white, and, like brown, is sometimes seen as dull. It’s a conservative color in most instances, and is usually reserved for backgrounds. It can also symbolize piety.
Beige in design is generally used in backgrounds, and is commonly seen in backgrounds with a paper texture. It will take on the characteristics of colors around it, meaning it has little effect in itself on the final impression a design gives when used with other colors.
Tan is popularly used as a paper-bag texture, and in its more grayish form as a concrete or stone texture.

C R E A M A N D I V O R Y

Ivory and cream are sophisticated colors, with some of the warmth of brown and a lot of the coolness of white. They’re generally quiet, and can often evoke a sense of history. Ivory is a calm color, with some of the pureness associated with white, though it’s a bit warmer.
In design, ivory can lend a sense of elegance and calm to a site. When combined with earthy colors like peach or brown, it can take on an earthy quality. It can also be used to lighten darker colors, without the stark contrast of using white.

Here’s a quick reference guide for the common meanings of the colors
discussed above:
Red: Passion, Love, Anger
Orange: Energy, Happiness, Vitality
Yellow: Happiness, Hope, Deceit
Green: New Beginnings, Abundance, Nature
Blue: Calm, Responsible, Sadness
Purple: Creativity, Royalty, Wealth
Black: Mystery, Elegance, Evil
Gray: Moody, Conservative, Formality
White: Purity, Cleanliness, Virtue
Brown: Nature, Wholesomeness, Dependability
Tan or Beige: Conservative, Piety, Dull
Cream or Ivory: Calm, Elegant, Purity

PREVIOUS ARTICLE: COLOR WHEEL

COLOR WHEEL. The color wheel or color circle is the basic tool for combining colors. The first circular color diagram was designed b...


COLOR WHEEL.

The color wheel or color circle is the basic tool for combining colors. The first circular
color diagram was designed by Sir Isaac New ton in 1666.
The color wheel is designed so that virtually any colors you pick from it will look good together. Over the years, many variations of the basic design have been made, but the most common version is a wheel of 12 colors based on the RYB (or artistic) color model.
Traditionally, there are a number of color combinations that are considered especially pleasing. These are called color harmonies or color chords and they consist of two or more colors with a fixed relation in the color wheel. Color Impact is designed to dynamically create a color w heel to match your base color.
Primary, Secondary and Tertiary Colors
In the RYB (or subtractive) color model, the primary colors are red, yellow and blue.
The three secondary colors (green, orange and purple) are created by mixing two primary colors.
Another six tertiary colors are created by mixing primary and secondary colors.



Warm colors include red, orange, and yellow, and variations of those three colors. These are the colors of fire, of fall leaves, and of sunsets and sunrises, and are generally energizing, passionate, and positive.
Red and yellow are both primary colors, with orange falling in the middle, which means warm colors are all truly warm and aren’t created by combining a warm color with a cool color. Use warm colors in your designs to reflect passion, happiness,
enthusiasm, and energy.
Cool colors include green, blue, and purple, are often more subdued than warm colors. They are the colors of night, of water,of nature, and are usually calming, relaxing, and somewhat reserved.
Blue is the only primary color within the cool spectrum, which means the other colors are created by combining blue with a warm color (yellow for green and red for purple). Greens take on some of the attributes of yellow, and purple takes on some of the attributes of red. Use cool colors in your designs to give a sense of calm or professionalism.
Neutral colors often serve as the backdrop in design. They’re commonly combined with brighter accent colors. But they can also be used on their own in designs, and can create very sophisticated layouts. The meanings and impressions of neutral colors are much more affected by the colors that surround them than are warm and cool colors

Tints, Shades, and Tones

These terms are often used incorrectly, although they describe fairly simple color concepts. If a color is made lighter by adding white, the result is called a tint. If black is added, the darker version is called a shade. And if gray is added, the result is a different tone.
 Tints - adding white to a pure hue:
 Shades - adding black to a pure hue:
 Tones - adding gray to a pure hue:

COLOR HARMONIES

Color Theory is a set of principles used to create harmonious color combinations. Color relationships can be visually represented with a color wheel – the color spectrum wrapped onto a circle.
The color wheel is a visual representation of color theory:
According to color theory, harmonious color combinations use any two colors opposite each other on the color wheel, any three colors equally spaced around the color wheel forming a triangle, or any four colors forming a rectangle (actually, two pairs of colors opposite each other). The harmonious color combinations are called color schemes – sometimes the term 'color harmonies' is also used. Color schemes remain harmonious regardless of the rotation angle.
Classic color schemes supported by Color Wheel Pro:

Below are shown the basic color chords based on the color wheel.

Complementary color scheme



Colors that are opposite each other on the color wheel are considered to be complementary colors (example: red and green).
The high contrast of complementary colors creates a vibrant look especially when used at full saturation. This color scheme must be managed well so it is not jarring.
Complementary color schemes are tricky to use in large doses, but work well when you w ant something to stand out. Complementary colors are really bad for text.

Analogous color scheme



Analogous color schemes use colors that are next to each other on the color wheel. They usually match well and create serene and comfortable designs. Analogous color schemes are often found in nature and are harmonious and pleasing to the eye. Make sure you have enough contrast when choosing an analogous color scheme. Choose one color to dominate, a second to support. The third color is used (along with black, white or gray) as an accent.

Triadic color scheme



A triadic color scheme uses colors that are evenly spaced around the color wheel.
Triadic color schemes tend to be quite vibrant, even if you use pale or unsaturated versions of your hues.
To use a triadic harmony successfully, the colors should be carefully balanced - let one color dominate and use the two others for accent.

Split-Complementary color scheme



The split-complementary color scheme is a variation of the complementary color scheme. In addition to the base color, it uses the two colors adjacent to its complement.
This color scheme has the same strong visual contrast as the complementary color scheme, but has less tension.
The split-complimentary color scheme is often a good choice for beginners, because it is difficult to mess up.

Rectangle (tetradic) color scheme



The rectangle or tetradic color scheme uses four colors arranged into two complementary pairs.
This rich color scheme offers plenty of possibilities for variation.
Tetradic color schemes works best if you let one color be dominant. You should also pay attention to the balance between w arm and cool colors in your design.

Square color scheme



The square color scheme is similar to the rectangle, but with all four colors spaced evenly around the color circle.
Square color schemes works best if you let one color be dominant.
You should also pay attention to the balance between warm and cool colors in your design.

PREVIOUS ARTICLE: UNDERSTANDING COLOR                        

NEXT ARTICLE: COLOR PSYCHOLOGY