Colour in Interior Design

November 7, 2022 dsgn

The Importance of Colour
The Colour Wheel
The Dimensions of Colour
- Hue
- Value
- Intensity
Colour Temperature and Mood
The Effect of Colour on Space
Colour Response
Considerations in Colour Selection

1. The Importance of Colour

Colour is one of the most fundamental and influential aspects of interior design. Colour selection is a major factor in determining the success or failure of a decorative scheme. The carefully considered use of colour can unify furnishings and finishes to produce a cohesive and pleasing result. Colour plays a major role in defining the mood of a scheme and so the designer should allow the visual design concept (derived from the brief), together with consideration of the shape and proportions of a room, to guide and inform the selection of colours in order to achieve the desired effect.

2. The Colour Wheel

The colour wheel is a helpful tool to examine the relationship between colours. It represents the linear spectrum of visible light (the colours of the rainbow, from red to violet) and joins the ends of the line to form a circle. The colour wheel enables to visualize and define colour combinations that work well together (colour harmonies).

The colour wheel provides a system for relating colours to one another in order to devise the basis of a colour scheme. If the designer derives a colour scheme from some other source of inspiration, the colour wheel is still useful to identify the type of colour combination selected and to rationalise how (and to provide a guide as to whether) the scheme works.

The basic types of colour scheme are designated according to the position of the component colours on the colour wheel. Following a specified type will usually result in a pleasing scheme, although the designer should be guided, not bound, by it. Variations are desirable; an otherwise restrained monochromatic or neutral scheme can be enlivened and transformed by introducing small amounts of contrasting colour (accent colours).

3. The Dimensions of Colour

To describe colours with any degree of precision, it is necessary to distinguish the three attributes or dimensions of colour: hue, the name of the colour; value, the lightness or darkness of the colour, and intensity or chroma, its degree of strength or purity.

Hue

Hue is the most obvious characteristic of colour. Hue is described by the name of the colour (e.g. red, blue, yellow, etc.) and is determined by its position along the band of the visible spectrum. There are an infinite number of hues along the visible spectrum. A hue is a pure colour without tint or shade (see below). Hues are depicted on the colour wheel and the terms ‘hue’ and ‘colour’ are used interchangeably.

Value

Value is defined as the relative lightness or darkness of a colour and is determined by the amount of black or white which is either inherent in or added to the pure hue (of normal value). Value gradations are determined by the amount of light the colours reflect and values are changed by adding white or black to make colours reflect more or less light. Lighter values are called tints and darker values are called shades. There can be a light blue or a dark blue of exactly the same hue.

Apparent changes can also be made by altering the amount of light reaching the colour surface, or by placing the colour against backgrounds of contrasting colour values (degrees of light or dark). Value contrasts accentuate differences (simultaneous contrast), in the same way as colours affect one another.

Intensity

The terms intensity, saturation and chroma refer to the relative purity, vividness or saturation of a colour, as contrasted with greyness, dullness or neutrality of that hue. A colour is at full intensity at the normal value of the hue, which are described as being of high or strong intensity. An intense colour can be dulled or desaturated by addition of a colour which is remote from it in the spectrum, making it less pure or intense.

To actually increase the intensity of a hue, more of the dominant hue (at the normal value) is added. To apparently increase the intensity of a hue, the object can be illuminated with bright light of the same hue, or thrown into contrast with its complimentary hue (or a greyed tone of the same hue, or a neutral colour).

Large areas of intense colour can be overwhelming. The actual intensity of a hue is decreased by adding grey or its complementary hue (located opposite on the colour wheel). The apparent intensity of a hue is decreased by illuminating it with less bright light, or more diffuse light, or light of a complementary hue; or by placing it adjacent to either a more intense hue or an analogous hue.

4. Colour Temperature and Mood

Each hue has its own visual ‘temperature’. So-called ‘warm’ colours can make us actually feel physically warmer and cool colours can make us feel colour. Warm light (red, yellow and orange) intensifies warm colours and neutralizes cool colours (blue and violet); cool, bluish light has the opposite effect.

Research shows that warm-coloured interiors feel comfortable to occupants at lower actual air temperatures than required to achieve the same level of comfort in a cool-coloured but otherwise identical space, and so are often preferred in colder climates. Cool colours tend to lower the perception of actual air temperature and so can improve comfort in hot climates (or in artificially hot settings).

A decision whether to work towards a colour scheme characterised as warm, cool or neutral can be influenced by a number of factors:

Climate – Cool colours are generally preferred in warmer climates or holiday homes where summer occupancy is most usual, and warmer colours may be considered more acceptable in colder climes.
Activity – Warmer colours are preferred in stimulating environments and cooler colours in calm, contemplative settings. The stimulatory and relaxing effects of warm and cool colours, respective, are proportional to the intensity of the colours used, so there is a wide range of possibilities through the gradation of colour tones.
Orientation – South-facing windows which admit a lot of daylight all year round suggest a cool or neutral scheme, while a northern orientation suggests the use of warmer colour combinations.
Preference – Spaces designed for a particular occupant can take individual colour preferences into account, while spaces designed for many end-users might best avoid overuse of intense colours.

5. The Effect of Colour on Space

The apparent size and shape of a space can be modified to an extent by colour selections. The choice between warm and cool colours, or between light and dark tones, can magnify or minimise the apparent dimensions of a room. Colour can affect the apparent size of a space, the visual height of a ceiling or the seeming width of a corridor, so designers can make practical use of the visual effects of different colours to modify spatial perceptions.

Warm hues such as reds, oranges and yellows (and all their combinations) are known as advancing hues because they seem closer to the observer than they actually are, which leads to two apparently contradictory visual effects, depending on the size of the area of colour usage and the intensity of the hue. A small, segregated colour area, such as a piece of furniture upholstered in warm, intense colours will appear closer to the observer, and therefore larger than it actually is. A large, surrounding colour area, such as intensely warm-coloured walls also appear closer but, conversely, make the room seem less spacious than it really is. In the same way, intense colours and dark tones will appear closer than neutrals or light tones of a similar hue.

Cool colours are known as receding hues because they have the opposite visual effects. Blues, greens and violets (and all combinations of these) appear to be further away than they actually are. Receding hues reduce the apparent size of small, segregated colour areas (such as objects) but appear to increase the dimensions of a room when used on large, surrounding colour areas (such as walls). Similarly, neutrals and light tones of a colour appear further away than intense colours or dark tones of a similar colour.

The calculated use of warm and cool colours, and of light and dark tones, can achieve a number of practical effects. Small spaces can be made to feel more spacious by using cool, receding colours with low contrast between them; while large spaces can be made to feel less expansive by using warm, advancing colours and strong colour contrasts. Advancing colours can be used on a high ceiling (and on the uppermost section the wall) to make it appear lower; receding colours can be used to make ceilings appear higher. Long, narrow spaces can be made to feel less like a corridor by using advancing colours on the short walls.

6. Colour Response

Research shows that colours can affect the way we feel. Some psychological reactions to colour are learned associations, shaped by our culture (and cultural symbolism) as well as by personal experience (Dodsworth 146); other emotional impacts and interpretations of colour may be inborn, intuitive and universal to everyone, such as the physical stimulus of intense red or the lack of stimulus provided by white, black and grey (Pile. 151).

Colours and colour temperature affect the mood of an interior, and can have a psychological impact on observers. Colour can cheer, stimulate or relax us. Colours on the warm side of the colour circle feel welcoming, comfortable and stimulating. Colours on the cool side of the colour circle seem calming and relaxing. Extremely cool colours can have a depressive psychological impact. Neutral colours, which fall between warm and cool, have a less intense psychological impact and can suggest a business-like, utilitarian atmosphere with a minimum of emotional content (Pile, 137) and are considered pleasant and unobtrusive background colours. Extremely neutral colours can appear bland and boring.

Red is associated with fire and blood and therefore connotes heat, force, intensity and danger. Red can raise body temperature, pulse rate and blood pressure. When red is reduced to a tint, it becomes pink and loses some of its psychological intensity; lighter pinks in particular are associated with femininity and delicacy. When reduced to a shade, red becomes brown.

Red mixed with yellow produces orange, which retains some of the intensity of excitement implied by red. Orange tends to produce a cheerful response which is why it is widely used in commercial settings. Orange tints include beige and tan, which are popular background colours; orange shades include browns.

Among the warm colours, yellow has the least intense impact. It is considered less aggressive than red. Yellow is the colour of sunshine, happiness, activity and mild stimulation. Yellow tints include creams, beiges and light tans, considered pleasant background colours. Its shades include tans and browns.

Browns are more alike than the reds, oranges and yellows from which they derive. Browns are warm, dignified and comforting; they can be rustic or refined. As well as positive connotations of wood, raw textiles, brick and earth, they also have unfortunate associations with dirt and soil. Without the lift of livelier colour accents, browns can seem oppressive and drab. Despite its popularity in interior schemes, public opinion surveys reveal that brown is the least favourite colour of Europeans and Americans.

Green is the warmest of the cool colours thanks to its yellow content. Its association with grass and trees, makes green calming and restful to the eyes. Green is regarded as the most natural colour with connotations of health and wellbeing. Tints of green share these characteristics in reduced intensity; shades of green signify dignity and solidity.

Blue is the coolest of the cool colours and appears restful and calm. Its associations with sky and water suggest spaciousness, simplicity and purity. Blue has the opposite physical effects to red; it can lower body temperature, pulse rate and blood pressure. Blue is thought to encourage contemplation. Tints of blue share these characteristics, to a lesser degree. Shades of blue become increasingly dignified (and potentially depressive) as they move towards black.

Violet and purple should be approached with caution as they incorporate the conflicting values of warmth and coolness, of dynamism and calm, and can be quite disturbing to some observers. Pale tins of violet are thought of as playful and feminine. Deeper shades of purple can be dignified, mystical and even threatening.

White is not strictly a colour, but is the result of the combination of all colours. Its absence of chromaticity makes it a symbol of purity, simplicity, clarity and cleanliness. The colour name white is used for a variety of near-whites which are actually slight tints of more chromatic colours – warm or cool whites are popular background colours. White is a favourite of of modernist design (particularly in combination with black and primary colours) and has become a symbol of modernism.

Black is another non-colour; the opposite of white. Black is a strong colour with implications of strength, dignity and formality, with implications of emptiness or gloominess. Black has negative associations with fear and death. The contrast of black with white (both non-chromatic colours) can be striking. Pure black can be warmed or cooled by the addition of chromatic colours.

Grey results either from the mixture of black and white, or from mixtures of complementary colours. Greys are neutrals that can range from light to dark and from non-chromatic (totally neutral) tones to warmer or cooler chromatic tones, depending on the temperature of the tones tones they are mixed with. Light greys do not have strong associations and are useful background tones for more chromatic colours. Darker greys share the characteristics of black, albeit to a lesser extent, and can be authoritative or ominous.

7. Considerations in Colour Selection

Certain functions and traditions recommend certain colour selections as more appropriate than others. These recommendations are just that: they are not rules that prescribe one specific colour scheme for a given function or activity, but suggestions or guidelines which can be considered and rejected at will. As has been shown, for example, the relative placement of tones is most agreeable when the gradation from darker below to lighter above is observed. Even within a very limited range of colour tones, floor surfaces will normally be among the darkest tones in a space and ceilings will normally be among the lightest.

Also, we have seen that the decision whether to embrace a warm, cool or neutral colour palette may usefully be informed by considerations of climate, function, orientation and end-user preference. In the event of conflicting indications, it is a matter of judgment which considerations should take precedence, or whether a balanced middle way involving neutral or complementary tones might represent the better approach.

It is worth adding a few words about how the proposed function or activity of an interior will affect colour planning. Intense colour schemes are not always appropriate for multi-user spaces or rooms which are occupied for extended periods of time. Living rooms and dining rooms are thought to be most successful in mildly warm to neutral tones, with stronger tones reserved for smaller areas, such as furniture, window treatments, and accessories. Colours thought not to be conducive to the appetite include black and dark greys, strong blues and violets, and yellow-greens; while red is said to be the most stimulating. It may be wise to avoid intense colour on a bedroom ceiling or large wall areas (even in children’s bedrooms), since these are less conducive to relaxation and sleep. Strong colours in bathrooms reflect onto skin colour which can be unflattering to the occupants. Since warm colours are found to stimulate activity and cool colours to promote concentration and contemplation, either colour temperature would suit a study, library or home office.

Ambience is a major consideration in colour selection for residential interiors. There is a general preference for warm colour schemes (and warm accents within neutral or cool schemes) where a cosy and welcoming ambience is sought. Extremely warm or cool colours may be ideal for a particular room or space, but monotonous throughout a whole house or apartment. Open-plan abodes, as well as inter-connected rooms, require careful consideration of whether to treat the space as one, or how to relate different colour schemes in different zones, either through contrast or through unifying tones.

Sources

The Interior design student

Dodsworth, Simon (2016) The Fundamentals of Interior Design, 2nd edition
Nielsen & Taylor (1994) Interiors: an introduction, 2nd edition
Nissen, Faulkner and Faulkner (1994) Inside Today’s Home, 6th edition
Pile, John (1997) Colour in Interior Design
Studholme, Joa & Charlotte Cosby (2016) How to Decorate

Colour in Interior Design