Color Theory PDF - Color Dimensions, Hue, Value, and Chroma

Color theory  COLOR DIMENSION According to the accepted theory color has four dimensions. Pure hues are located on the outer edges (horizontal dimension) value is represented on the vertical axis, going from the light value at the top to the darkest at the bottom. The chr...

Color theory  COLOR DIMENSION According to the accepted theory color has four dimensions. Pure hues are located on the outer edges (horizontal dimension) value is represented on the vertical axis, going from the light value at the top to the darkest at the bottom. The chroma or the intensities of the color takes the third dimension (the depth of the color). The fourth dimension is the temperature of colors. Hue Hue is the term used to distinguished one chromatic color from another. In other words, hue is the name of the color. Hue indicates the color's position in the spectrum and on the color wheel. It is believed that color categories are largely determined by the physiology of the human visual system. The study, of categorization is strongly tied to the study of color naming. Color Naming Basically, colors have different names in different languages, and they also have various meaning and understanding in various cultures. There are color names which are used in our day-to-day activity, and there are other color names related to a certain profession or useful only in the limited circle. 1/Commonly used mono lexemic color names: red, blue, violet, yellow, black, white, gray, brown, purple, pink etc.... 2/Color names related to objects or materials, or materials that take directly the names of the materials: gold, silver, lime, persimmon, orange, violet etc.... 3/Color names associated with the objects and materials: sky blue, velvety black, lemon yellow, brick rid, ashen green etc.... 4/Color names related to their tonality: light red, deep blue, dark red, grayish green pale brown, gray- green black- brown blue-black etc.... 5/Color names common among artists and paint manufacturers:  a) Color names related to the minerals: cobalt blue, cobalt green, cobalt violet; chrome yellow, chrome orange, chrome green; cadmium yellow, cadmium orange, and cadmium red; zinc white, madder lake etc.... b) Names which refer places: Naples yellow, Paris blue, Saturn red, mars yellow etc... c) Names related to social status: Royal blue, Royal purple etc... 6/color names mostly used among fashion designer and interior decorators: tan (yellow brown or golden-brown shade); beige (a pale, sandy, or light brown color); turquoise (greenish blue color); blond (light yellow color) mauve (a pale purple color) taupe (a gray with slightly brown quality) puce (a dark red or purple brawn); etc... Most people are uncertain about these colors meaning. Some theoreticians suggested, naming colors using composite words. In this principle the main color named second, while the first syllable indicates the color which modify the main hue; e.g. gray-blue, yellow green. Sometimes they use double names to indicate the degree of modification, e.g. yellow red yellow or red yellow red etc.... Value Like any animal we are sensitive to any kind of light. This sensitivity is common of all human beings. Under suitable conditions our eyes can distinguishes anything from fifty to hundred different tones between black and white. But our judgment is influenced by the area of these tones, and the prevailing light levels. There are a number of technical processes in which it is extremely useful to have a continuous tonal scale showing progressive change from black to white. If one tone merges imperceptibly in to next, on this type of tonal scale it is not easy to refer to specific values. When we want to do so, it is often more convenient to use a step wedge or gray scale. Here tones are selected at regular intervals throughout the range. So that, each step looks proportionally lighter than the previous one. Slight steps can be difficult to distinguish for a tone needs to be some 2% brighter or lighter than its neighbor (in day light) for us to detect any difference at all. The actual number of steps chosen for a gray scale will depend on its purpose. For many applications 10 steps will provide a good indication of a system's performance. Five may be suffice. For greater precision, 20 or more steps may be needed. Tonal Contrast and Tonal Gradation Picture quality is very dependent on how effectively we can produce the various tones in the picture. There are two aspects of tonal relations. They are tonal contrast and tonal gradation. Tonal contrast (subject brightness range): when we are comparing the values of tone; we may be judging the difference between any two tones in the picture or on the surface; e.g. the contrast between the tones of a person's face, and its background. Or the difference between tonal extremes; e.g. the lightest and darkest tones in the picture. Where the subject itself has highly contrasting tones the picture will have a bold, clear cut, well defined look. There may be few subtle half tones. If tonal contrasts are slight, there will be little differentiation between planes, and they may appear to merge. The picture is likely to look flat, and lack dynamism. Tonal Gradation The clarity with which the system produces a different tonal value. In a picture with wide range of half tone we can identify with difficulties even slight modeling, surface form, and texture. But if a picture with subtle half tones is produced through a high contrast system, these slight tonal variations merge, and modeling is lost. Value Key Value key is a system or series of tones or values on their relation to a keynote, dominant value of the painting which it is named. We may use values without considering a color, as in black and white graphics print or black and white and monochromatic drawing, but we cannot use color without considering values. Thus, value key or tonality of a painting is therefore of prime importance. Range of Value Keys In the diagram on page 3, there are ten values or tones grading from black to white. Value 1, 2, 3 are in the low key; 4, 5, and 6 are the intermediate keys; 7, 8, and 9 are the high key. If the darkest and lightest values in the design are three steps apart or less, it may be called a minor key. If there is a greater interval between the darkest and lightest values and they are five, six, or seven step apart, strong contrast results, and it is called a major key. Each key in painting like each key in music has a distinctive emotional character. The luminous high major key is positive, stimulating and cheerfully banal. The high minor has a delicate, feminine quality and is more pensive. The intermediate major key is posteresque, strong rich with a somewhat frank masculine quality. The subdued intermediate minor suggests the timeless twilight of a dream world. The low major key is generally ponderous and dignified. Chiaroscuro and Notan There are two principal way of using light and shade or values. These are the naturalistic and the pattern treatments. The realistic method is called by the Italian "chiaroscuro", literally "chiaro" (light) plus oscuro (dark). The Japanese distinguish between the lights and shadows occurring in nature and artificial value patterns by naming the latter notan, in contradistinction to the former. For examples for this principle are the Japanese prints, the Egyptian wall paintings, the flat patterns of ancient paintings etc. Gray According to their appearance there are four types of gray: a) Natural gray: is any kind of gray found in nature or in our surrounding with the warm or cool quality. b) Neutral gray is a pure gray without warm and cool quality. It might be darker or lighter c) Middle gray is a gray which is found at the middle of value scale or at no 5 in ten equidistant value scale. d) Optical gray is a gray made by putting several complimentary color coats separately and they create gray tone from the distance. Value Order When color or shades of gray are sequenced within a composition, order is achieved, and imposing orders can thereby achieve harmony, value play an important part in establishing such an order, when find that the eye is most comfortable with naturally progressing value relationships: a) background black , followed by gray , then white. b) background white, followed by gray, then black. When we change the sequencing from natural value order, the effect is visually jarring. a) gray background, followed by white then black.  b) gray background, followed by black, then white. c) white background followed by black, then gray. d) black background followed by white, then gray. When we arrange the tonal gradation from dark at the bottom up to light in a logical order that is termed architectural order. Architectural order is usually associated with landscape. If we invert the relationship to get black, gray, white we have what is known as typographical order. Typographical order, as the name implies, allows text to be noticed and read comfortably. Here we see that having bold, darker, or heavier text at the top of the area results in better eye/brain comprehension. The other orders are referred to as irregular order and are relatively unstable. All of these sequence can be converted to light -value, and dark value or combinations of hues. CHROMA Chroma or intensity indicates a color's degree of purity, strength or saturation. This is determined by the quantity of the dominant hue. Any color can vary as to the quantity of the dominant hue it contains. Two colors may be the same in hue and value, but they have different color strength or intensity. One may be intensive blue and the other weak, grayish blue. The difference in the dimension of chroma, by which the degree of color strength (intensity) is measured, indicates the location of the color in the color sphere. A step of chroma is the unit of measure of change in a hue between neutral gray and maximum intensity of the hue. Red for example, can be brilliantly saturated or subdued and neutralized. Mixing it with anything else such as black, white, gray or its complementary, green reduces the amount of red and thereby reduces its intensity. Intensity can also be lessened by thinning out the color with water, oil, turpentine, and so forth. Usually this is accompanied by a change of value. The apparent intensity of a color can be changed by the surroundings in which it is seen. Colors usually appear more saturated when seen against white, gray, or black background, or when they are placed near an area of their complementary hue. Somewhat the same phenomena occurs if they are used with unsaturated colors of their own hue. Thus green looks purer when seen against an achromatic background, a red background. or on the gray green. Temperature Temperature refers to the warmth or coolness of a color. Researches shown that certain colors stimulate us and increase our temperature slightly, and some colors relax us and decrease our temperature.  Mixing The addition of black, white, or the compliment to any pure have can alter its temperature. As we darken a hue by the addition or black, it becomes warmer. White however, has a cooling effect. The addition of the complement to the pure have will cause its temperature to reverse yellow, a natural warm hue, will become a cool shade when its pigment complement, violet, is introduced into the mixture. Blue, on the other hand, will turn warmer when its pigment complement, orange, is introduced. From this we may conclude that when a color hue is added to another cooler hue the resulting color will be cooler, and conversely, when a warmer hue is added to a hue the resulting color will be warmer. Neutral Gray and black may be warm or cool, when white is mixed with a commercially produced black, the resulting grays will look cool because the black is cool, however, when black is the result of the subtractive pigment mixture of red, yellow, and blue, it is warm and the grays produced by this mixture with white will also be warm. Warm black and warm grays are best used for natural objects, white cool blacks and grays are best adopted for in organic or manmade objects. For instance, a black, and a black piece of clothing would be rendered in warm black, the cool black and grays are achromatic where as warm black and grays are chromatic, these are the "neutrals" used by the impressionists, whites may also be warm or cool depending on the binder and pigment manufacturing process used. Flake white is derived from pure whit lead, which imports a slightly gray cast. Titanium white imparts a slightly pink cast and zinc white imparts a faint a yellow tinge. Ivory black (bone black) is cool, lamp black (Indian ink) is cool and carbon black is without discernible temperature. Relative Temperature A hue's temperature changes not only when it is mixed with another hue but also when the hue or color surrounding it changes. If a warm hue is surrounded by a warmer hue it will appear cooler; when this warm hue is surrounded by a cool hue it will looks warmer. The background color temperature influences the temperature or any hue placed on it. Use of blue gray tonality on distant portions of landscapes results atmospheric perspective. Thus temperature can influence our perception of space. Color Solid A color solid represents a means of charting color within a three dimensional frame work or structure. Its purpose is to describe and measure, hue, chroma and tone or value, Chroma decreases towards the center of the sphere where neutral gray is located. Tone or value is lightness or darkness, measured vertically so the top pole cup is white and the bottom on black. Therefore hue, value, chroma and temperature are the four fundamental color attributes, by using this method of notation color can be arranged in to systematic scales of equal visual steps.  The color Triangle The color triangle has a color or white or black at each point. Adding white to a color produces tint. Adding black forms shade. Adding gray crates, a tone. Color Harmoney Color harmony is the manipulation of lightness and chroma within a given selection of hues so that all colors contribute to an intended visual effect. When a more soothing environment is desired, contrast effects are reduced and colors with more common characteristics are chosen. The goals shift to that visual comfort, or a sense of aesthetic tranquility, which we call harmony. To generate a state of harmony we focus on the total effect of the color combination on the eye, regardless of the individual color attributes. In a harmonic color composition, colors are observed easily, and the eye did not work very hard to communicate the brain with what is seen. There are four major principles of color harmony that selected from imperfect records of the thousands of trials and errors and partial studies so far made. These principles are not scientifically verified but are simply the best guides to the selection or pleasing combination of color. ❖ There are four criterion contexts that determine whether color relationships are satisfactory or not, and each context implies different consideration in color design: Pattern: the effect of color combination to preserve the overall clarity of a figure/ground pattern, or alternately to blend visually into a specific visual mixture or texture: the legible effect of the color choice. Object: the effect of the color combinations to produce visual coherence (‘goes together’) or contrast (‘stand out’) within a single, designed or significant object, such asbook cover, vase painting, or the apparel worn by the person: the cohesive effect of the color choices in relation to the environment.  Representation: the effect of the color combinations to produce a pleasing overall effect within a representational image, such as photograph or painting: the pictorial effect of the color choices. Environment: the cumulative effect of all material colors and light colors visible in a place, setting environments, natural or engineered, architectural or mechanical (such as the interior of a certain building), which combine to create a visual mood, local atmosphere, task setting or spatial effect: the ambient effect or the color choice. The Four Methodological principles of color harmony Principle I Color harmony results from the juxtaposition of colors selecting according to an orderly plan that can be recognized and emotionally appreciated. By this view any three color chosen from any regular path in the color circle or solid, straight, circle, ellipse, or curved line would be selected in accord with an orderly plan and might be harmonious. Principle II Similar sequence of color, that one will be most harmonious which is most familiar to the observer. On other words, we like what we are used to. If we do not recognize that plan of selection, we are puzzled rather than satisfied by it. There is a considerable school of thought thatholds up nature as the true guide to color harmony.  Principle III Any group of color will be harmonious if, and to the degree that, the color have a common aspect or quality. If two paints produce clashing colors, put some of each in the other makes the colors harmonious. The difference between the two colors in thus reduced and if it is recognized that the two colors have a good deal in common, they do not seen to clash anymore. The rule can be extended to a large group or apparently unrelated colors by adding to each a liberal proportion of some on the other color. To achieve color harmony using this rule is, to make most of the color of a design have about the same lightness or darkness. Principle IV This principle of color harmony used in any color arrangements reflected to distance and size. (Ex. optical or broken colors). In general principle, too little unity is chaos, too little diversity is monotony. Color harmony contradictions. If two or more colors seen in neighboring areas produce a pleasing effect, they are said to produce a color harmony. Contradictions in these opinions are frequent. The reasons are not hard to find. a) Color harmony is a matter of likes and dislikes, and emotional responses vary from one person to another, and from time to time with the same person. We get tired of old color combinations and often welcome any change whatever. On the other hand, we sometimes learn to appreciate a color combination, from frequent seeing of it, that originally left as cold. b) Color harmony depends on the absolute any angular size of the area covered by the colors as well as on the design and the colors, themselves. A beautifully designed mosaic pattern magnified by a factor of ten usually produces a garish and unpleasant effect. What in miniature was seen as a subdued or even subdue color effect appears on magnification as an overemphasized caricature. c) Color harmony depends on the relative size of the area as well as on the colors themselves. d) Color harmony depends upon shape of the elements of the design as well as on the color themselves. This shape can influence the path taken by our fixation point as we look at the color combination to appraise it and so make it unlikely that the various elements are looked at in an unfavorable sequence.  e) Color harmony depends on the meaning or interpretation or the design as well as on the colors themselves. Color harmony from the stand point of the portrait painter is quite a different subject from color harmony in abstract design. Harmony of Consistency If color combinations can be made more stimulation by using color that are different from each other, then it stands to reason that reducing contrasts makes a palette more cohesive. The easiest way to effect harmony, then is to choose colors with inherent similarities. The more consistent they are, the more harmonic the result, because the eye does less work to read the overall palette. When colors are more consistent with each other, the object that contain them are grouped together in the mind’s eye, read as one block of form. Four types of harmony can be developed through strong characteristic consistencies: achromatic, monochromatic, analogous, and polychromatic. They are relatively straight forward solutions that depend on a reasonable level of color control. Achromatic Harmony the use of a single neutral color, or versions of a single non chromatic color, is an achromatic harmony. This is also known as neutral scheme. Examples of colors use in achromatic harmonies are black, white, and gray. Variation between elements is established trough value contrast only, which can be introduced through changes in surface color or by positioning lighting to cast shadow. These tonal arrangements are used as a backdrop in places where objects of transitory color will appear, such as galleries and food services areas. The risk with such a color scheme is that it can easily become too simple, losing the viewer’s interest if a richness of form detail is not available. Another difficulty in this scheme is that a great level of control is needed to refine the final palette. Monochromatic Harmony: the simplest color scheme is made of single hue that varies only in saturation and value. This is the monochromatic color harmony. Complexity is developed through the mixture of tones, tints, and or shades, often arranged in gradual increments. As in the achromatic harmony, this one is visually simple to comprehend, but can lose the viewer’ interest overtime if it is too limited. Contrasts in value make it easier to distinguish from, other through surface color or variation in light level. Contrasts in saturation add interest without deformation of form. In three dimensional design, monochromatic schemes sometimes include a small amount of an accent color to add interest. Analogous Harmony There are several ways to produce color harmonies using more than one hue. When we combine hues that are immediately adjacent to each other in the color circle, or at least within very proximity we call it analogous harmony, or adjacent harmony. There is no fixed rule for the range of hues permitted in an analogous color scheme; depending on the choice of key color, the range can vary from 450 to 900 on the visual hue circle. The key color is usually near the center or the hue range, but can be at either end. Analogous color schemes only include color in which the key color is the dominant hue. If the key color is orange, analogous hue range from orange to yellow to orange red (excluding yellow and red); if the key color is blue, the hues can range from blue green to blue violet, (excluding green and violet). To preserve color unity, colorant mixtures in analogous palette should be grayed with a single complimentary color, and mixture that take the color out of family. The success in analogous color arrangements comes from the realization that when two or more colors are close together in hue, the eye has a tendency to recognize them with grater similarity, allowing them to blend harmoniously. Two or three hues are enough to create a range of hue without exceeding the appropriate limits of adjacency. A combination of any primary and secondary color with the tertiary that occurs between them is considered adjacent. Variation of value and saturation can be included within an adjacent scheme, but they are usually limited so as not to compete with the composition. Neutral spacing is one technique used with adjacent colors to make mismatched items appear similar. When two colors look the same but are not a true equal, their difference is intensified along the edge where they touch. If the same two colors are separated by a neutral color, they will more likely appear to match. Complimentary Harmony The most effective harmonies involve a combination of complimentary hue. Two complimentary hues, that creates complimentary harmony, also known as dyad harmony. In this case several values and intensities of each complement may be include as long as each color is a derivative of one of the two hues represented. Complimentary colors are traditionally defined as two colorants that mix “perfect neutral”. Traditional color wheel geometry dictates that complimentary colors are either primary color and the secondary color opposite, or two tertiary colors. In the complementary color design, the key color will occupy the grater space in the image, define the dominant pattern, appear in the saturated or pure form. The range of value and Chroma across all colors affected their weight in the total composition, and these can be used to adjust and vary the relative weight of the colors. When working with dyad harmonies in any color composition, it is better not to give complimentary colors equal weight. The presence of a dominant color’s complement will give needed respect from a highly saturated color. However if distributed equally, focus cannot be on both colors at the same time and they tend to compete. The preferred solution is to allow one color to dominate in scale, subduing the secondary color.  Off complimentary Harmony The force of tradition, which is emphasis on either triadic or primary color relationship two hues separated by roughly a 1200 angle (one third of thecircumference) on the hue circle. (yellow, green, and blue, or yellow green and orange). Off complimentary combination hue are bunches of strong hue contrast, but without the clash of hue antagonists and the dulling effect of strongly neutralized mixture. Indeed, an excellent method for adjusting the final choice of two hues is by examining the mixtures they produce. Split Complimentary Harmony One of the most popular color schemes for expressive color effects. It built on the concept of complementary colors. It follows the same premise as a dyad in the colors directly opposite each other on the circle are combined to form a balance of hue. Thedifference here is that one color is combined with the two hues on either side of its opposite instead of the compliment itself. This harmony usually made by the key color bracketed by the analogous color; the opposite compliment is the accent color to the key in two ways: by accenting with itscomplimentary color, and by extending its color resonance through analogous hues. Because analogous schemes are usually not centered on the primary yellow or magenta colors, split complimentary harmonies with the warm key color are usually aligned roughly along the warm/ cool color contrast. As a geometric form over the color circle, a split compliment harmony forms as isosceles triangle that encompasses the center of the color circle. By definition, a triad is a form of split complement, but all split complements are not triads. The variety of pure colors and color mixtures in a split complimentary palette greatly expands richness of the palette without obscuring the emphasis on the key color. Usually a complete range of neutrals can be mixed with complementary pair. The key color and its analogous huecan be used broadly in unsaturated or darkened mixture, and the accent hue applied as small, saturated color areas: the key and analogous colors from the background neutrals that create a brilliant, jutelike effect on the accent color. Triad Harmony as the name implies, this one involves three hues positioned around the color circle such that a line connecting all three would result in an equilateral triangle. This harmony only occurs when the three colors are equally spaced. Triad color schemes are most dramatic when primaries are used. Generally speaking, triad harmonies do not rely on uniformity of value or saturation. Like the dyad scheme, this is a spectral balance. Colors may be similar in value and saturation or different. Or two of the three colors may be reduced in intensity, allowing the third to have a greater saturation level and serve as an accent without disturbing the visual balance. Tetrad harmony It is based on four colors, two pairs in complimentaryrelation to each other and the remaining two pairs in analogous of a  rectangle or square on the hue circle, with the analogous colors as the two short sides. A tetrad harmony offers a tremendous range of options to facilitate four colors combinations. It’s an increasingly complex form of color harmony sometimes resulting in very active combinations and on other occasions forming very pleasing, sophisticated palettes. Because of its complexity this harmony is best explained through its color circle geometries. The concept is that any two equally spaced hue pairs will offer a balanced harmony. The two short sides of the rectangle can form analogous colors around a single complimentary contrast. For example, warm hues against cool hues, then the tetradic scheme are an expanded form of the split complimentary color harmony. However, a tetradic palette includes so much of the hue circle, that free mixture among the four anchor colors can eliminate a sense of harmony all together. The color design should strive to preserve a dominant key color or center of gravity in the mixtures. The major tension is usually between a warm or cool color. Hexad Harmony To find a balanced combination of six colors, a hexagon may be imposing on a color circle in the same way that a square or rectangle is inscribed in the case of a tetrad. The result is what is known as a hexad harmony. Geometrically, this is a combination of the three equal spaced pairs of color compliments. The two most familiar hexads are 1/ the combination of primary and secondary colors and 2/ the combinations of all six tertiary colors. Other less familiar hexad combination exist between the colors just mentioned as the hexagon is rotated to less familiar of hue, this harmony is often appropriately sued in conjunction with polychromatic harmony for more sophisticated applications or in areas where high chroma is appropriate, such as children’s activity areas. Integrating Contrast and Harmony The use of one particular harmony or none at all is a matter of choice directed by the overall design concept. When a color composition is not working well, a couple of options are available to make the combination visually pleasing. Try to mapping the colors already selected on a color circle to highlight the one that needs adjustment to bring it more in balance. When any two specific colors within a scheme are not working together, they can be separated by black or white for harmony. The interjection of the eyes by creating a strong value contrast. As the same time, it keeps the two colors of hue from influencing each other by allowing them to read independently. Compositional Balance To create a balanced harmony, the amount of each representative color need not be consistent. Harmony will be experienced with unequal amount of each hue as long asthe appropriate colors are present. The decision to incorporate a color harmony is also flexible, since not all color combinations must be harmonic to be pleasing or appropriate.  What often does distinguish a successful color scheme is its sense of balance. Each design concept is interpreted as more than the sum of its pars. [A successful color concept will offer the needed interest without exceeding the viewer capacity for change] To establish that balance, attention is given to three conditions: the degree of harmony, the frequency and degree of contrasts, and the tendency towards balance of extent. Balance is achieved when the level of harmony and contrast are consistent with the concept of project and when extent is balanced above all. Decisions to incorporate greater contrast or to implement more harmony in a scheme are a matter of choice according to the overall intent. Without some sense of overall impression, neither set of tools is useful. But if intent is clear, decisions regarding each contrast or harmony can be made with well-balanced results. COLOR CONTRAST Characteristic differences between individual colors cause stimulation, excitement in the extreme, or at the very least, interest in a color composition. Collectively, these differences are known as contrasts. When two or more colors together display distinct variation, they are in contrast. Their relationship establishes a complexity that is unique to the combination of color in view. The degree of our response corresponds to the strength of each contrast as it registers in the brain. There are eight types of contrasts that artists and designers are always dealing with: 1) Contrast of hue 2) Light and dark contrast. 3) Contrast of temperature 4) Contrast of compliment 5) Simultaneous contrast. 6) Contrast of saturation. 7) Contrast of extension 8) Contrast of succession Contrast of hue The first form of color contrast that is immediately recognizable to most is contrast of hue and it is the simplest of all the eight color contrasts. Hue contrast involves a combination of colors in which the distinction of hue character are most pronounced. The effectis increased as colors are positioned farther apart on the color circle, as long as they are not complimentary. Some combinations in hue contrast are arranged so that one hue is given longer percentage of area in the composition, while other colors serve as a secondary role, that of enhancing the key color. Other compositions create greater tension by maintaining a balance of all the colors in the composition. The colors in the color wheel have their own natural characteristics, for example, green orange and violet are weaker in character than yellow, red andblue; the effect of tertiary colors is still less distinct. When the single colors are separated by black or white lines, their individual characters emerge more sharply. Their interaction and mutual influences are suppressed to some extent. Each hue acquires an effect of reality concreteness. Though the triad yellow, red, blue, represents the strongest contrast of hue. Some obvious combinations are yellow, red, blue, red, blue green; blue yellow violet; yellow, green, violet; violet, green, blue orange, black.  When black and white are included as elements of the palette, white weakens the luminosity of adjacent hues and darkens them; black causes them to seem lighter. Light – Dark Contrast The most forceful color contrast we have is that of light and dark, also referred to as value contrast. Day and night, light and darkness – this polarity is of fundamental significance in human life and nature generally. Almost everyone with sight, regardless of any defective color vision, can recognize this contrast. The effect can be done in shade of natural color, such as gray, black, and white, with some limited hue, or with a full range of hue. The painter’s strongest expressions of light and dark are the colors white and black. The effects of black and white are in all respects opposite, with the realm of grays and chromatic colors between them. A uniformly gray, lifeless surface can be awakened to mysterious activity by extremely minute modulations of shading. This very important factor in painting and drawing requires extreme sensitivity to tonal differences. To make the contrast stronger, the edge of the lightest and darkest values in the composition share common boundaries. Value contrast is probably the most common one used in design. The phenomena of light and dark, both among white, black and gray, and among pure colors, should be thoroughly studied, for they yield valuable guides to our work. Composition painted in light – dark contrast may be contracted of two, three, or four principal tones. The painting is then said to have two, three, or four chief planes or groupings, which must be well attuned to each other. The phenomenon of value contrast results from different levels of light reflected or absorbed by the image surface. Black and white contrast are strongest because the effect on the retina one of opposing reactions. White excites the retina, while black reposes it. By viewing the two simultaneously as it compares the two extremes. Contrast of Temperature Just as the two opposite side, white and black represent the lightest and the darkest color, while all grays are light only relatively, according as they are contrasted with lighter or darker tones, so blue-green and red orange, the cold and warm poles, are always cold and warm respectively; but the hues intermediate between them in the color circle may be either cold-warm according as they are contrasted with warmer or colder tones. According to the general temperature related category of colors, yellow, yellow orange, orange, red orange, and red are warm colors, whereas Green, blue green, blue, and blue violet are cold colors. It is advantageous to use colors of similar value, maintaining the brilliance of both warm and cool tones so that any value contrast does not dominate. Like contrast of hue, the temperature contrast effect is heightened by an increase in saturation level. The cold-warm property can be verbalized in a number or other contrary terms. Cold – Warm Shadow – Sun Transparent – Opaque Sedative – Stimulant Rare – Dense Airy – Earthy Far – Near Light – Heavy Wet – Dry Contrast of Complement: When two compliments are used in combination, it is considered a contrast compliment, or complimentary contrast. We call two colors complementary if their pigments, mixed together, yield a neutral gray-black. Physically, light of two complementary colors, mixed together, will yield white. The more saturated the colors and the larger the area of compliments, the stronger the contrast effect, particularly where direct compliments touch. Added depth and complexity in contrast of compliment occurs when colors of several saturation levels or values level are used. Each complementary pair has its own peculiarities; Yellow / violet represent not only complementary contrast but also an extreme light-dark contrast. Red orange / blue green is a complementary pair, and at the same time the extreme of cold–warm contrast. Red and green are complementary, and the two saturated color hue the same balance. If the mixture of in all proportion fail to include a neutral gray, it follows that two colors are not complementary. Simultaneous contrast Simultaneous contrast results from the fact that for any given color the eye simultaneously requires the complementary color, and generates it spontaneously if it is not already present. Thissearch for relief causes the eye to spontaneously generate an after image where the desired colors are not present. As the eye generates an afterimage of complementary color, the hue of the color is projected onto appears to shift. As the eye shifts from one strong color to another, perceptionof each is impacted according to the strength of adjacent colors. If a natural gray square is surrounded by a very warm color it will appear to hue undertone of the complementary cool color, just as it will appear lighter if surrounded by a very dark color. The simultaneously generated complementary neither occurs as a sensation in the eye of the beholder, and is nor objectively present. It cannot be photographed. The simultaneous effect occurs not only between a gray and a strong chromatic color, but also between any two colors that are not precisely complementary. Contrast of Saturation Contrast of saturation is the contrast between pure intense color and dull, diluted colors. It encompasses the use of both intense and diluted color in association with each other, usually working within one hue. The contrast is created only in subtractive color, because it depends on the ability to manipulate saturation quantitatively. The spectral hues found in white light are uniformly of maximum saturation. This means the only way to reduce the intensity of an additive color is to reduce the amount of light allocated to it. Color may be diluted in four different ways, with very different results.  1) A pure color may be diluted with white. This renders its character somewhat colored. 2) When pure color diluted with black it deprive its tonal and chromatic qualities. 3) A standard color diluted with gray, might not be loose its tonal range, but in any case less intense than the corresponding pure color. Mixed gray are easily neutralized by simultaneous contrast effect. 4) Pure color may be diluted by admixture of the corresponding complementary colors. Contrast of Extension Contrast of extension involves the relative areas or two or more color patches. It is the contrast between much and little or great and small. All colors have some degree of inherent strength, or tendency to attract the eye. The amount of strength naturally exhibited each color varies according to its relative lightness and its level of saturation. We two colors are shown a full saturation, in their greatest intensity, the lighter or the two will have greater strength. Contrast of extension or contrast of extent, is the conscious attempt to shift the balance of strength between colors of unequal strength to create tension or excitement or to place emphasis within a color composition. Two attributes contribute to the dramatic effect of a color-its comparative strength, driven by value and saturation, and its extent, the amount of area it occupies. To create drama, unequal amounts of color are used to accentuate their difference in strength. To maintain balance between any two colors in a composition, as smaller amount of thestronger color must be used. When the amount of each color is adjusted so that an overall balance of strength is achieved, there is a balance of extent. Two factors determine the force or a pure color, its brilliance and its extent.The harmonious area for the primary and secondary colors are: yellow orange red violet blue green 3: 4 : 6: 9 : 8:6: or: Yellow: orange = 3: 4 Yellow: red = 3: 6 Yellow: violet = 3: 9 Yellow: blue = 3: 8 Yellow: green = 3: 6 Contrast of Succession Contrast of succession occurs with the passage of time, ability very short in duration. As with simultaneous contrast, the effect occurs most readily with colors that are extreme in saturation level or value level. The eye adopts to one color, and this adaptation impacts the perception of those colors that come into view immediately afterward, often by the projection of complimentary afterimage, if the viewer looks at a given color with great intensity and immediately follow that observation by viewing a background of a different color, perception of that background color will be influenced by the first. COLOR PSYCHOLOGY For those of us blessed with sight, we have been taught that color can make us feel good, excite us, general fear and joy, or literally make us nauseated. As long as we attach a certain meaning to a particular color, the legends of colors will continue to persist. In fashion, advertising, and presentations, color is one of the most effective tools. Psychologists have suggested that color impression can account for 60% of the acceptance or rejection of that product or service. Psychological perception of color is a subjective experience. Therefore, the wavelengths referred to by two people using the same color name almost always differ. On the other hand, however, due to the biological bases of our color vision, there is a high degree of wave universality in the use of color terms across cultures and languages. Therefore our reaction to colors are led by a combination of biological, physiological, psychological, social and cultural factors. Color Preference: Almost a hundreds of investigation have explored the relationship between feelings, emotions, and color. Part of the problem in researching this area is determining exactly what is being studied in color preference. Several of the early studies measured color preference in terms of one evaluation dimension, such as pleasantness or unpleasantness. A high pleasantness rating for a given color then becomes synonymous with a high preference rating. These color preference studies focused almost entirely on the color itself, without regard to the other important variables. In studies that did provide adequate controls, it was found that the color blue, green, and red were preferred in light tints, over darker shades and that saturated colors were preferred over unsaturated color. Another factor that was discovered in later studies was that the size of the color sample used in the experiment had a bearing on the outcome. For example, people often liked small samples of yellow and orange but found large amount of the colors unpleasant. Background color was the single most important component of preference judgment due to contrast effect. Men were reported to prefer blue, violet, and green. Women preferred colors in the red, orange, and yellow orange. It was also found that value contrast was the most important factor for pleasant color harmony-the greater the lightness contrast, the most the color combination was preferred. In the other hand color preference could be influenced by variables other than those of the color itself. It showed that the interaction of the light source with the color of prime significance in color preference. The size and shape of light source and their placement within a room have an effect on color preferences. It should contrast to play an important role in color preference relation and indicated that the perceived pleasantness of a color is changeable and not an in variant quality within the color itself. The results of several studies suggest that an acceptable color is defined the object with which it is defined the object with which it is associated, and this relation is probably the product of cultural norms and expectations or subjective color bias. The influences of color presence are: Learned color bias Variations in the saturation or value of the color. The interaction between light source, background color, and the color of the object. The contrast between colors in combination. The size and placement of light sources. Color preference rating is the product of an interaction between light source, background color, and object color. Color preference is not a static state. Individual do not prefer one color every time, but choice can vary dramatically within short period of time. Color and Emotion: A definite color mood association exists, although the color-mood association differed widely among peoples. In fact, all colors to be associated with all moods in varying degrees of strength. Although certain colors are more strongly as sociated with a given mood or emotion. Cultural biases that are a part of our language further support the red-equals excitement myth. These subconscious messages clearly affect the response to red. Blue tones, being associated with cool streams, the sky, and the ocean, continue to be equated with calm and tranquility. This too, is a learned response with which we are subtly surrounded from early childhood. In understanding color, it is important to differentiate between these culturally learned color associations and true biological response. Color does not contain any inherent emotional triggers. Rather it’s more likely that our changing moods and emotions caused by our own physiological and psychological makeup at the moment interact with color to create preference response. The Effect of Color on Food: people shows low preference for yellow and yellow green foods on the whole and have ascribed greater sweetness and grater flavor to orange, red, white, and pink food. Wine white or pink both less sweet when yellow, brownish, or purple. While foods are rarely chosen solely on the basis of color, foods that are identified with specific color are rejected if the color suffers from what is expected: nature does not create blue food, with the possible exception of blue berries, which are really more of dark purple. Consequently, we do not have an automatic appetite response to this color range. We appear to have deep- seated instinct to avoid blue and purple foods because many blackish- purple and blue fruits and berries are poisonous. Of all the color in the spectrum, blue is an appetite suppressant. Weight- loss place putting food on blue plate or putting a blue light in the refrigerator to suppress some one’s appetite. The most dramatic result can be achieved by using a blue lamp in some bodies dining area. Some foods are preferred when colored with food coloring to intensify their natural color. Orange juice colored even more orange was preferred over natural orange juice and thought to be sweeter. Red has such strong association with flower than in some countries tomatoes and other red vegetable are grown commercially in brightly colored varieties that have almost no flavor at all, yet the association with redness and ripeness (and paleness with disease) is why pale tomatoes do not sell as well as the flavorless red types. Golden brown is so toughly associated with appetizing bakery products that the baking and roasting of bread, cereals, and nuts is precisely controlled so that they emerge neither too dark not too light for consumer taste, bakery goods are often packaged in some type of golden brown wrapping to suggest their inner goodness. White in food has associations with refinement and delicacy. Refined with flour, sugar, and rice have long been favored as statues symbols. Compare to men preference Women generally prefer white meat and fish. Dark colored foods have often preferred by men and have become associated with strong flavor and spiciness. Most food items aimed at the male market are tinted or packaged in brown because aimed at the male market are tinted or packaged in brown because of male-oriented preference in this area. Dark brown sauces and chutneys, relishes, or smoke meats are also presented in some form of brown warping. Color and Volume Perception: Light is one of the most important factors in our perception of openness in interior space. Light or pale colors recede and increase the apparent room size, as do color and smaller patterns. Dark of saturated hues protrude and decrease the apparent size of the room. In general, it may also be said that warm color and large patterns have the same effect. A high illumination level will enlarge the appearance of volume, whereas a low illumination will diminish it. Color, Weight, and Size: In general darker colors appear heavier, whereas lighter and less saturated, pastel tones seem less dense. If the hues are of the same value and intensity, the tendency is to perceive the warmer hue as heavier. Bases for machinery and equipment will appear steadier and more solid if they are painted darker than the equipment itself. A piece of heavy painted darker than the equipment itself. A piece of heavy painted dark green, for example, will seem imbalanced shaky and awkward if it rests on yellow feet. Heavy objects designed to be moved, carried, or thrown by human effort may be made to appear less heavy with lighter and cooler colors. Cool colors will also make things appear shorter and smaller; warm colors make them seem longer and larger. Color and Temperatures: If excessive warmth or heat is present in an environment, the body’s reaction to compensate may be subjectively supported by the use of a cool color, and vice versa through a warm color in the use of a cool color, and vice versa trough a warm color in the case of cold. The lighter the color, the more light (therefore heat) is reflected, the darker the color, the more light is absorbed. In essence this would mean that indoors (where there is less heat loss than outside- light being reflected outward) a lighter color would throw back more heat from the walls than a darker one. Perception of Noise and Sound: Stimulation of the sensed, brightness and loudness are associated with the most active effect of warm colors, the reverse being true for cool colors. People mentally connect a loud red with one of high saturation. Rarely does one speak of a loud blue or green. High pitched and shrill sound tends to be compared with saturated and light hues. Association of Odor Taste: Color that hold pleasant associations with smell are pink, lavender, pale yellow, and green. Tints of coral, peach soft yellow light green, flamingo and pumpkin have pleasant associations with taste. Red--------sweet strong Green ------ sour, juicy Pink------- Sweetish, Mild Green-blue—Fresh too salty Orange --- Strong Blue ------- Odorless Brown----- Musty Violet------- Narcotic, Heavy, Sweet Yellow----- sour Light purple—Sweetly tangy Yellow-Green — Sour, Tangy. Color and Time: There seems to be a contradiction in regard to the effect of color on the perception of time. It is generally believed that in environment with warm colors, time is overestimated. On the other hand, cool colors produced the opposite effect: time is underestimated. Tactile Associations: Colors also give an impression of texture or sense of touch. Red appears firm and solid; as it is modified and becomes pink the texture turns finer and less solid. Orange appears dry, whereas darkened to a brown it remains dry, but depending on exact hue position it may appear from lumpy to muddy. Sand, a yellow – ocher, gives the impression of being sandy and crumbly. Yellow is smooth and light like. Green appears from smooth to damp; it becomes sorter, smoother, and watery as it becomes blue- green. Blue is smooth; lighter blues seem less palpable and more atmospheric. Ultramarine, violet, and crimson have a velvety appearance. Color and Office In any office vision should be held a midtones, and ideal light- to – reflection ratio being three to one. This means controlling the light reflection of walls, furniture, desks, and floors. Recommended reflectance for surfaces are: 20% for floors, 25-40 percent for furniture, 40-60 percent for walls (which can be stretched to 70 percent depending on lighting conditions), and 80, 90 percent for ceilings. Insufficient or feeble contrasts are emotionally unsatisfying and should be avoided. Working surface (desktops) should be a warm gray (30 percent) light reflection. The color is neutral and non- distracting, and it strikes a good brightness balance between white and black, keeping the eyes at a uniform and comfortable level of adjustment. Wood desktops are also acceptable since the pattern helps to diffuse reflection. Desktops should never be too dark too light- especially black or white topes should never be specified. The desk’s body may be darker than the top. Color Specifications: In color specification, first those that should not be used as dominant (wall) colors: not purple, violet, vivid yellow, yellow-green, bright red, white, gray and black. Beyond that, the choice of hues, guided by good judgment, is fairly bread. In offices where intense concentration is required, attention should be directed inward with cool hues. In general office areas, the choice of warm or cool hues depends on preference. Soft yellow, sandstones, pale gold, pale orange, pale green, and blue green are always appropriate. Color and Health Care Entrance, Lobby, and Patient Reception: The entrance lobby and patient reception, with the exception of the exterior of the building, is the most important first impression patient and visitors receive of the facility. From the psychological viewpoint and in connection with a decorative approach the appearance should transmit a sense of friendliness, human warmth, and the promise of care and emotional security. From a psychological point of view it would be detrimental if the lobby promises an environmental quality and raises hopes that the rest of the facility does not keep. Corridors: In any case, all corridors should be attractive and reflect an atmosphere of calm. Calm, of course, does not depend solely on the use of a cool color, the effect can be transmitted just as well be warm hues. Chroma, value, pattern, and amount of hue variation are the principles in establishing either an exciting or calming effect, for example, a pale orange or peach will appear calmer than a bright, intense green. Long corridors may be color sequenced. In long corridors the end wall should always be color differentiated. For example, the sides could be peach and the end wall a medium bleu. If the two color effect is used, the careful attention must be paid that the brightness ratios of the two hues on the side of each wall are similar. This will minimize contrast and established a uniform field of view. There should never be one dark side and one light side. The color of the floor, and the side of the door that faces the corridor, should be either related to the dominant hue or complementary. Under no circumstances should there be too many radically different colors in the major areas of the corridor. Patient Rooms: Medical doctors and psychologists in agreement that the patient’s room should be comfortable, cheerful, optimistic, and tranquil. Of course with limited exceptions, patient rooms cannot be tailored to the specific illness of the patient. Were it so, we could eliminate those colors that patients reject due to their specific ailment, as for example yellow that is rejected by patients suffering from liver disorder. Patients suffering from cancer, when asked about their preference for environmental colors they expressed choices that specifically did not include red, blue, black, and purple as being indicator of the illness. Because patients are often supine, the ceiling may be tinted. However, caution must be taken with green and since this may cast an unfavorable reflection on the skin. Ceiling colors should always be light so that they do not appear disturbing and heavy. For the reason of visual diagnosis the wall located at headboard end of the patient’s bed should not carry highly saturated hues. This may alter the patent’s skin color (reflection and simultaneous contrast). The wall the patent faces may serve as a different colored end wall to add interest and color change to the room. A warm room could be pale orange on three sides with the fourth wall slightly darker but not brighter. A cool room, for example, might have sandstone on three walls and pale green on the end wall. If a single color is used on all walls, suitable choices are peach, soft yellow, pale gold, and light green; interest and color change must be added in accessories or incidental areas. Operating Rooms: Optimum visual condition is the priority in operating rooms. Appropriate brightness proportions must exist between the visual task zone, its surrounding area, and the room perimeter. For years green and bluish green have been used for gowns, capes, masks, and covers in surgery. This color reduced glare under intense light. It is complimentary of the red color of blood, thereby, neutralizing the afterimage produced by concentration on a wound. Brightness contras must be controlled, which means that the walls of the operating room should not exceed 40- percent light reflection (ideal is 30-35 percent); the floor should be 15 percent and the ceiling 80 percent. The wall color can be similar in hue (not brightness) to the color of the gowns and surgical sheet. Recovery Rooms: Recovery rooms can be lighter blue-green, pale green, or aqua, but don’t need to be. As stated before, quiet, relaxing surrounding can be achieved in many ways. Perhaps even a slightly warm color may pick up the spirits of the patient who has just undergone surgery. Laboratories: Areas such as these, including sterilizing rooms, can be in tan, pale green, gold, or aqua. Where color discrimination is critical in the work performed, walls must remain neutral, -- gray is advised. The danger of environmental monotony may be eliminated somewhat by introducing color on doors, tables, (not the working surface), chairs, and so forth. Pediatric Units: For pediatric unites primarily clear and light colors, warm, and friendly, and varied are called for –but without appearing too confusing. Carefully chosen art can be used as a form of communication to lessen anxiety and to convey a sense of caring, gentleness, and reassurance. Maternity units: Corridors in the maternity section should set themselves apart from other area of the facility. The spirit of anticipated happy event may find expression through visual means-or color’s associative power. The ideal color for labor room is a light blue green. It should be used as the dominant hue with subdued red-orange accents, or at least blue-green should be on the wall the patient is facing. Strong red-orange might carry an association of blood, therefore the red orange must be subdued, but not to a point where it appear dirty. The function of the physician and nurse must come first, and charm must yield to practical necessity. Skin tone may be altered by yellow, pink, blue, green, and gray. A blue wall may make an infant look cyanotic; yellow or green walls may give jaundiced look. Pink walls, by giving a false health look, may obscure the early tint of jaundice or obscure the real pallor of anemia. EEG (Electroencephalograph), and EKG Rooms: The room must not be arousing or exciting. Low- intensity blue or green may be an effective aid in achieving this goal. However, this is a generality and the choice of tone is very important so that it does not result in monotony. It is well known from research that a monotonous surrounding influence heart rate and brain- wave activity (as does over stimulation). In the monotonous environment, because there is nothing to look at, the patient may turn to inner thoughts, which will influence his physiological state. Not only is color an important facture, but all design elements in the room are to be considered. A quality design room may, for example, exhibit interesting wall decoration—and abstract painting, for example – that the patient can explore while measurements are taken. This may do more for a patient’s state of calm than only low- stimulus colors. Examination Rooms: It is important that color is examination rooms so not interfere with visual diagnosis. In general, a friendly milieu would be more appropriate than a stark, sterile one. Being examined isn’t usually a pleasurable experience; some people even feel it to be and intrusion of their privacy and feel quite uncomfortable about it. Therapy and Treatment Room: In this treatment room pale green or aqua are good choice for cardiac, cystoscopy, orthopedic, and urology procedures; pale coral or peach are suggested for dermatology, obstetrics, and gynecology. For physical therapy, aqua is an excellent selection. It is cool, clean, reduces muscular tension, and gives a pleasant glow to the complexion. However, depending on circumstances, a yellow might be advised for its motoric effect, as would mural with design that shows gentle motion. Where patients are in therapy to regain the ability to walk, floor might be divided into sections of different colors. This device stimulates patents and shows their daily progress. The first section could be red – the first steps are usually the hardest, followed in sequence by orange, yellow, green, or blue. Blue or green represent the final release of the difficult learning process. The association of the sequence would be appropriate, red being tension and blue or green being release. Waiting Room: The waiting room must be anxiety-reducing and also seem to make time go faster; by assuring that the room is not boring, and that it has enough visual interest to focus occupants toward the environment and not to inner thoughts. Lively effect can be created through decorative accessories. An aquarium holds a sitter’s interest for quite some time. Seating should be arranged to encourage conversation in small groups. It would be ideal if every waiting room in a medical facility had an outside view, preferably of a landscape area. Color and the Working Area of Industries Studies, including those conducted in the field of industrial psychology, point out that in inappropriate working environment may lead to monotony or to boredom, resulting in job weariness, lack of motivation, and negative interaction –all of which affects the overall work climate. In addition, the task performed in various types of industries may be physically demanding, tedious, repetitive, and monotonous; may expose workers to unusual level of heat, noise, or odor; and may place great demands on vision. Eye Fatigue: The tempo of modern production is much faster than ever before, requires greater accuracy and precision, and thus places are ever- increasing demand on workers’ eyes. The result of improper illumination (either too high or too low), glare, extreme changes from light to dark (also surfaces), and prolonged fixation of the eye without suitable areas and distances for visual relaxation. Some additional guidelines that must be allowed to minimize eye fatigue. 1. A neutral (gray) work surface with about 30% reflection is best. In those instants where products being assembled are consistently the same color, the work surface should be the complement of that color, but with the proper reflectance and saturation (grayish). This also will aid in eliminating the means of after image. 2. Background shields may also be used for delicate visual tasks. Such shields reflect light and provide contrast with materials, hold eye adjustments at a relatively stable level, confine vision to the task at hand, and cancel out background movement by providing a sense of isolation. 3. Work surfaces and walls when possible should have mate or dull surfaces to avoid refloated glare. For walls there are paints that are durable and washable without being-gloss. 4. If machines are positioned so that a wall is constantly in the immediate field of vision, it is important to control brightness contrast by establishing approximately the same brightness and using color that rest the eyes adjustments when vision is directed from the machine to the wall and back again. 5. Surrounding surface, which may include walls, must be provided to rest the eyes; if possible, they should be similar in brightness to the work surface. These may be in pleasing colors with the reflectance of 30-55%. 6. In general, walls should reflect 50- 60%, if floor and equipment are dark and 60-70, if most surfaces and areas are light. Machines, equipment, tables, and desks should have a reflectance ratio between 25 and 40%. 7. Walls containing windows must be have light color. Dark walls adjacent to sun light shining through windows will result unnecessary brightness contrasts. Machinery: Machines and equipment are meant serve man, not vice versa. Therefore, they must have colors that serve the functional process by improving the perception of critical or operating part of the machine. 1. Eyes are attracted to the brightness or the most contrasting area in the field of vision. Focal color on machinery discourages eye travel and also supports quick location of parts needed to operate the machine. For instance, a green machine may have light-beige working parts and red off –buttons or handles. 2. Bases for machinery or equipment should be painted darker than the body color. This makes them appear steadier and more solid. 3. Gray machines demand a colored background. 4. There should be sufficient contrast between the machine and the material being fabricated to establish an easy to see line of division; otherwise the operator is constantly straining to see where the material ends and the machine begins. For instant, where brass is the dominant material on the assembly line, blue-green would provide good contrast; orange would not. Large, numerous, and closely spaced machine should not be highly saturated or too dark in color. Too many objects in a space will add to complexity and present a spotty effect. Therefore, they should be colored so that they appear to recede (less saturate d or lighter colors).  Basic Safety Colors: 1. Red identifies fire- protection equipment, containers holding dangerous contents, and buttons, or switches on machinery. In pipeline identification, red is used for fire- protection materials. 2. Orange designates danger and is used for machine parts that may crush, cut, shock, or injure in some way. It is also used on exposed edges (pulleys, gears, rollers, or other moving parts) and of starting buttons. In pipeline identification it is used to identify dangerous materials (steam. High pressures, etc…). 3. Yellow suggests caution and identification physical hazards (obstructions, low beams, pillars, posts). Materials – handling equipment such as cranes and hoists are painted yellow. Yellow signal easily ignited and explosive materials (gas, acids) in pipelines. 4. Green is the basic color for safety. It is used to identify first – aid stations and kits. In pipeline identification, green (along with white, gray, or black) indicates safe materials that pose no hazards to life or property. 5. Blue identifies electrical controls and especial repair areas. 6. White is the housekeeping color used for the location of trash cans, trash receptacles, drinking fountains. School and Color Psychological color tests on children have shown that the acceptance and rejection of certain colors is a mirror of their development to adulthood. Colors might be best suited for different age groups in the school environment. Black, gray, white and brown were rejected by the children between age of five and eight; red, orange, yellow, and violet were preferred. At age nine and ten, gray, dark brown, black, pastel green, and blue were rejected. Preferred were red, red-orange, and green-blue. The 11-12 –years-olds rejected achromatic (black, white, gray), olive, violet, and lilac. Preschool and Elementary Grades: Children or kindergarten through elementary school ages are mostly extroverted by nature. A warm, bright color scheme complements this tendency, thereby reducing tension, nervousness, and anxiety. Color may be light salmon, soft, warm yellow, pale yellow-orange, coral, and peach. Color of opposite temperature should also be introduced as accents. Under no circumstances should it be believed that by pinning drawings, cartoons or the like on the wall, the child’s need for change in hue, color intensity, and lightness, is satisfied, or that it will reduce a monotonous room experience. Upper Grade and Secondary School Classroom: Sorter surrounding creates by suitable and/ or cooler hues have centripetal action, which enhances the ability to concentrate. Beige, pale or light green, and blue-green are appropriate, and they permit better concentration by providing a passive effect. In the class room where students face one direction, it is particularly useful to make the front wall a different color from the side and back walls. The purpose of this aid to relax the students’ eye when they look up from their tasks, thus providing effective contrast with chalkboard, material displayed, training aids, and the instructor, as well as drawing attention to the front of the room. By adding interest to the class room through a different appearance from different directions, visual monotony is avoided. Side and back walls may be beige, sandstone, or light tan, while the front wall might be in medium tones of green or blue. Libraries: Pale or light green creates a passive effect it enhances quietness and concentration. Domestic Arts and Manual Training: For home economics, luminous hues such as light yellow and light orange are appropriate, tan or pale green are suitable for manual-training workshop. Corridors: In the lower grades hue may be lively; in a multistoried school, each corridor can be treated differently. Complimentary colors schemes are quite appropriate. For example, light-orange walls offset with blue doors; or a light-green wall with lower chroma red doors (not the tone of tire doors). Color and Foodservice The food industry is well aware of color conditioning, and processors treat foods to retain natural color of apply food to retain natural color or apply food coloring where necessary. Packaging too plays an important role. Bread, cereal, and nuts are controlled precisely during baking or roasting so that they emerge neither too light nor too dark. Dairy products, which consumers associate with coolness and hygiene, have blue or white packages. For butter packaging, gold or silver may indicate luxury; yellow and green might suggest countryside. Some meat counters are illuminated with lights whose spectrum is closer to red, making the meat seem redder and more succulent. Dark gray meat, orchid potatoes, muddy-violet salads, black peas, and blue bread found no takers even though people knew the food was edible. Psychological studies on appetite appeal and color repeal that warm red (vermilion, flamingo, coral) oranges (peach, pumpkin), warm yellow, light yellow, and clear green are true appetite colors. Purple violet, purplish red, orange yellow, yellow green, mustard, gray tones, and gray hold little food appeal. To be more specific, a peak of appetite and agreeable association exist in the red-orange and orange region. Restaurants: In general, appetite-appealing hues should be taken into account. In the red range, flamingo or coral is perfect; in the orange range, peach and pumpkin will provide a lively setting. Yellow can create a light sunny (breakfast) atmosphere. Exercise caution, however, in regard to the color’s saturation; if it is too pure or too grayed down it can appear cheap. Walls, tablecloths, dishes, furniture (if it is not natural wood), and upholstery should harmonize in analogous and complementary tones, and unappetizing hues should be avoided. Complementary accents are appropriate; for example, blue green carpets or table cloth with flamingo walls. Green salads may look greener and fresher on cool pink serving dishes; the richness of butter is enhanced by green blue or bluish white; bread appears best on green or green blue plates. Gray dominant wall colors have no emotional appeal; therefore it is not recommendable to use them for the background or any food presentation. For table clothes and certain accents and incidental areas, white can be considered. Cafeterias and Coffee Shops: In full service restaurants, colors should be somewhat refined and subtle. Cafeterias and coffee shops, in the other hand may be a beat brighter, although colors should be intense and aggressive. Light red orange, light orange, pale yellow, warm yellow, apricot, and pale green are good dominant wall color (yellow should not be too bright); somewhat stronger for accents are blue and blue green. Laminated tabletops may be in wood grain or the colors specified as appetite colors. For purposes of cleanliness, food should not be too dark; texture and patent may conceals, floors should not be too dark; texture and pattern may conceal unrecoverable stains. Mahogany table, reddish brick walls, wrought-iron grill work, and vines around ceiling supports are great favorites in cafeterias. Warm light is imperative in all foodservice establishments. It flatters the complexion, creates coziness, and adds to the effects or warmth, thus inducing the desire to rest. Warm light is always more relaxing, allowing the building up of energy during work and lunch breaks. Food Display: Food display should follow the color specification given so far, avoiding all unappetizing hues. Store shelves doesn’t leave much open wall space for color application, but some walls behind shelves may be colored to make packaged items stand out, Or to provide orientation through color association: clear green for produce; sea green for sea food; bright yellow for baked goods (an association with golden wheat fields and sunshine); Pale yellow for dairy products (suggesting butter and cheeses); dark red- orange for coffee and chocolate (brown, unless it is wood, is not appropriate, especially as pant). Background color should not be interfering with merchandise colors. In the meat section, turquoise or sapphire blue on a background wall or fixtures will enhance the color of meat (the meat trays themselves should be white to suggest cleanliness). Fixtures for refrigerated items should be white or cool hues (light blue or aqua) to convey a feeling or coldness. Food items display in refrigerated units colored orange would look out of place. Floors should be unobtrusive; eye should be directed toward the merchandise. The Major Function of Color Color is an inexhaustibly rich and powerful means of expression and communication. It has direct bearing on our emotion and our attention. Color also affects the apparent size of forms, their spatial position, and the sharpness of their outline. Arousing Emotions: Warm hues are stimulating, whereas cool colors quieting our feeling. Warm and cool together give a balance effect. Catching Attention: Attention can be guided by choice and organization of hue value and intensity. Warm hues attract more notice than cool ones, but a vigorous contrast of hot and cold is more strongly noticed than either one used alone. Red, black, green, and orange are conspicuous against white, but black on yellow is the most legible combination at a distance, which explains its use on road sign. The more intense the color, the greater its power of catching our attention. Painters and advertisers typically reserve their brightest colors for important part of their pictures. Influencing Apparent Size and Distance: The ways in which color seems to alter the size of objects are often dramatic. Painting the walls of a room in light, neutral, cool colors makes the room seen more spacious than would bright red or dark brown. A marked difference between an object and its background usually calls the object to one’s attention and thereby makes it seen larger. Thus, a dark blue sofa against a white wall may look larger than it would if upholstered in light tan. In general, warm hues, high values, and strong intensities increase apparent size. Apparent distance is drastically affected by color. In a view that includes distant as well as nearby trees, the far trees look bluer, lighter, more neutral, and show less light and dark contrast. Interior designers and landscape architects, as well as painters, can increase or decrease apparent distance with color. Warm hews, low values, full intensities of colors bring or advance objects forward. But cool colors, high values make them recede. Color contrast high values and low values together bring objects forward. Affecting Outlines: The Color Yellow orange red and pink which are related warm colors of comparable middle values and intensities, tends to blur and merge, while the outline of the cool, contrasting, high –value, moderately intense blue stands out sharp and clear. Black and white paints together, show that high value differences emphasize outlines and that closely related values minimize them. Artists normally strengthen the outlines of important parts of their composition by contrasts and minimize the subordinate parts with subtly connected colors. Generally cool hues, value contrast intensive color contrasts make outlines clearer and harder. Red Red is a very emotionally intense color. It enhances human metabolism, increases respiration rate, and raises blood pressure, and also stimulates brain wave activity, increases heart rate. It has very high visibility, which is why stop signs, stoplights, and fire equipment are usually painted red. Red bring text and images to the foreground; used as an accent color to stimulate people to make quick decisions. In advertising, red is often used to evoke erotic feelings (red lips, red nails etc.…). This color is also commonly associated with energy, so we can use it when promoting energy drinks, games, cars, and items related to sports and high physical activities. Red clothing gets noticed makes the wearer appear. Since it is an extreme color, red clothing might not help 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. Red color is the strongest chrome and the greatest power of attraction and the most extricating color and stimulates vivid emotions of the right brain. And it is also the most popular color among women. The red light cure, chickenpox, scarlet fever, and some skin sickness and it promote health, energy and interest. In some peoples, however, it may evoke aggression.  Orange 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 increase oxygen supply to the brain, produces an invigoration affects, 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 has very high visibility, so we can use it to catch attention and highlight the most important elements, of design. Orange is very effective for promoting food products and toys. The color orange suggest approachability, informality it inspires and invigorates people who otherwise are apathetic, uninterested, or depressed. It is favored by sociable extravert people and those who need cheering up. It has the character of red and it accelerates the digestion process. Pink. The most romantic color, pink is, more tranquilizing and has calming effect, if not overused. Sport teams sometimes paint the locker room used by opposing team bright pink so their opponents will lose energy. It is favored by delicate people longing for a feeling of Security. Brown: Brown represents sensation as it applies to the bodily senses. It indicates either a need for a hopeless forfeit of body comfort, depending on its position. Yellow Yellow Produces a warming effect, arouses cheerfulness, stimulates mental activity, and generates muscle energy. Bright, pure yellow is an attention getter, which is the reason taxicabs are painted this color. When over used yellow may have a disturbing effect: it is known that 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. Yellow evoke pleasant, and cheerful feeling. It is effective to promote children’s products and items related to leisure. It is also very effective for attracting attention, so it is mostly used to highlight the most important elements of design. Men usually perceive yellow as a very light hearted, 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 we should avoid using yellow if we want to suggest stability and safety. Light Yellow tends to disappear in to 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 represent” spontaneity” and corresponds to exhilaration originality, expectancy and variability and the desire to expand and be active. It also denotes concern for others over self-interest. Yellow color is considered an optimistic color, but people lose their tempers more often in yellow rooms, It is the most difficult color for the eye to take in, so it can be overpowering if over used. It enhances concentration, hence its use for legal pads. It also speeds metabolism, and it, upbeat, modern color, also has overwhelming quality. Yellow is the most luminous of all colors, but the darker and more neutralized yellows and greenish yellows, are the most unpopular and dislike of all. It was much in fashion (in the west Europe) during 1890-1900, the period that is sometimes known as “the Yellow nineties’. A yellow color always Keeps us in tone stimulates our visual activities, and creates optimal condition when we are tired and it is good for mental work. When bright and sunny reinforces the nervous system and helps in analytical studies, people who like yellow are happy optimists, but also critical thinker who will eagerly defend their views. They often lack creativity and imagination. Pale shades of yellow, on the other hand, mean unfavorable emotion like envy or a tendency towards plotting and intrigue. Green Green has strong emotional correspondence with safety. It has great healing power, and it is the most restful color for the human eye: it can improve vision. Green suggests stability and endurance. Green indicates safety when advertising drugs and medical products. As Green color has direct relation to nature it is good to promote “green” products. It is used in hospitals because it’s thought to be easier on the eyes and to help lower the stress level of both patients and health care people. It soothing, relaxing mentally as well as physically helps those suffering from depression, anxiety, nervousness. Green is taste color representing the physiological condition of “elastic tension” It expresses itself psychologically as the will in operation, as perseverance and tenacity. Blue green is therefore an expression of firmness, of constancy, and above all, of resistance to change it is concentric, passive defensive, autonomous, possessive and immutable. Its affective aspects are persistence, self- assertion, obstinacy and self-esteem. It soothes the nervous system, reduces the blood pressure, and widens blood capillaries. It eases pain from migraines and increases the function of muscles and working abilities. It gives hope and peace of mind. It is said to be favored by quite, patient, open–minded traditionalists. Too much green, however, evokes sadness and hidden fears. Blue Blue is the color of the sky and sea.It is often associated with depth and stability. Blue is considered beneficial to the mind and body. It slows human metabolism and produces a calming effect. Blue is strongly associated with tranquility and calmness. We can use to promote products and services related to cleanliness (water purification filters cleaning liquids, vodka), air and sky (airlines, airports, air conditions) 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. Dark blue is associated with depth expertise, stability; it is a preferred color for corporate America. We should not using blue when promoting food and cooking, because blue suppresses appetite. When used together with warm colors like yellow or red, blue can create high-impact, vibrant designs; for example, blue –yellow –red is a perfect color scheme for a superhero. When our primitive ancestors looked upon the light blue of a new day, they felt safe after shuddering in the fear of the previous night of darkness and the dangers within it. People who are ill feel at ease when seeing each new light blue sky, and take comfort in knowing they have made it through another long night. A dark blue sky signifies the coming of another night and sometimes a storm. Blue causes the opposite reaction of red. Powerful, 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 recommended wearing blue to job interview because it symbolizes loyalty. People are more productive in blue rooms; studies show weightlifters are able to handle heavier weights in blue gyms. White blue is one of the most popular colors it is one of the least appetizing. Blue food is rare in nature. Food researchers say that when humans searched for food, they learned to avoid toxic or spoiled objects, which were often blue, black or purple. When food dyed blue is served to study subjects, the lose appetite. Naturally blue color is a perspective colors that pulls as out in to the remote. It is atmospheric; it has the impression of distance and boundlessness. It is relaxing for the eye and cheering for the mind. It promotes intellectual processes; that is why people who favor it are clever and industrious but not always creative. They are exceptional just, dutiful and loyal. Purple 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. It evokes romantic and nostalgic feelings; whereas, dark purple evokes gloom and sad feelings. It can cause frustration. It is also feminine and romantic. Purple was first associated with royalty because of its rarity and expense. This color is stately, pompous, and impressive. It is cool and negative and it has a melancholy character, suggesting pain, of suffering, and resignation.  Violet Violet color has the quality of both red and blue color; at the same time it has oppressive power on our nerve system. It is cool, negative, retiring, quieter, and solemn. Violet color is preferred by preadolescent children, pregnant women and people with hipper thyroid and homosexuals of both genders. Violet can be considered to be a desire for mystic intimacy or understanding. Violet is the color of fantasy, playfulness, impulsiveness, and dream state. In its negative mode it can suggest nightmares, or madness. I suppresses appetite, provides a peaceful environment, good for migraines.  White In advertising, white is associated with coolness and cleanliness because it’s the color of snow, we can use white to suggest simplicity in high tech products. White is an appropriate color for charitable organizations; angels are usually imagined wearing white clothes. White is associated with sterility, so we can use white to suggest safety when promoting medical products. It is also associated with low weight, low-fat food, and dairy products. White is popular in decorating and in fashion because it is light, natural and goes with everything. How ever white shows dirt and is therefore more difficult to keep clean than other colors. Doctors and nurses were white to imply sterility. People who like white strive for perfection. They are submissive Idealist whose dreams are difficult to fulfill. If is positive and stimulating, luminous, airy, light and delicate. Black Black gives the feeling of perspective and depth, but a black background diminishes readability. When designing for a gallery of art or photography we can use black or gray background to make the other colors stand out. Combined with red or orange other very powerful color, black gives a very aggressive color scheme. It is the color of self-confidence, power, and strength. Black is the color of strong 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 over powering, or make the wearer seem bluff or evil. Villains, such as draconian often were black. In the other hand it represents the absolute boundary beyond which life ceases. Black as “preferred color” means that the person choosing it is rejecting and renouncing everything out of stubborn protest against a situation in which he feels hopeless. It is seen as a rebellion against fate and a revolt against life as the only means for people. Black color protects people’s individualities and makes them seem more unusual and interesting. People who like black are profound explorers and original thinkers. When it represented with yellow it looks scary. Color Symbol Over the centuries color have been used for signifying meanings in heraldry, given to the month of the year and the seasons, religious symbolism, for everything from wedding to babies. Floristsare quick to tell us red roses means love. We use to describe emotions. Colors –often have different symbolic meanings in different cultures. For example, white is the color of weddings, in western societies but for funerals in traditional Chinese culture; red is associated with rage in American but with happiness in China. In American fashion and decoration, blue is for a boy while pink is for girls, which is a symbolic use of color that is not shared by many cultures. White In the primitive society: white is the color of good, faithfulness, victory over bad spirit and helps to keep conversation with the universe, when it appears with red it will have the meaning of life power. In ancient China, white is the color of morning, bereavement, harvesting rise, outmen season, metal, west, and planet Venus. It is also the color of children, helpful people, marriage, and peace travel in the east culture. In 17th century Islamic religion, the shining color white is the sign of good, represented purity and spirituality. In west culture, white stands for youth, cleanliness, purity innocence, joy truth, glory, light, virginity, brides, angels, good guys, hospitals, doctors, and it signifies honesty, integrity as well as perfection, and also white means safety, as opposed to black white usually has positive connection. It represents peace. Two of the most popular peace symbols are the white dove and the truce flag. White can represent a successful beginning. In heraldry, white depicts faith, and purity, it is the summer color, and the color of professionalism. The negative representation of white in western culture is naivety and the white flag symbolize truce, or surrender. In Japan, white carnation symbolized death in China white is the color of funereal. Black In ancient Egypt and other related cultures, sometimes it is the sign of love, marriage, honest, and it has hilling power. Egyptian painted the black antimony or stibnite to protect the humaneye from disease, and the black color used in magical spell for regulation of rain. In ancient China it represents winter season, water, the North direction, and the planet Mercury, the color of young boys. In the east black is the color of career, knowledge, and mourning self-cultivation penance. In the west, it represents mystery and the unknown, e.g. (Black hole), it associated with power, strength, authority, prestigious, color e.g. (black tie, black Mercedes), elegance, formality. In western civilization, black has always signified sorrow, gloom, and death, it is also indicative of secrecy, terror and evil: e.g. (The black band, the black flag of piracy, black tiding, black Friday, and the prince of darkness, blacklist, black humor, Black Death). It associates with funerals, bad guys, rebellion, Halloween (with orange). In the other hand black represents the absolute boundary beyond which life ceases. Black as “preferred color” means that the person choosing it is rejecting and renouncing everything out of stubborn protest against a situation in which he feels hopeless. It is seen as rebellion against fate and revolt against life as the only means for people. Yellow In the west the positive association of yellow is wisdom, ambition, intellectualism, the left-brain. In Christian color symbol yellow is sacred color and saffron stands for the confessors, Yellow is the color of sunshine. It is associated with joy, happiness and energy. In heraldry yellowindicates honor and loyalty. Light yellow is associated with intellect, freshness and joy. Yellow or Gold is honor and legality, the color of summer and April month. It is also the color of optimistic upbeat, modern. The negative symbol of Yellow in the western civilization Is indecency, cowardliness, jealousy, envy, deceit, hazards, and treachery. In tenth century France the doors of the houses of traitors and criminals were painted yellow, and Judah was pictured as clad in yellow garment. It is also related to disease, the yellow flag is flown on quarantined ship and hospitals, Today the term “Yellow dog” and “Yellow streak” convey the idea of treachery. Dull (dingy) Yellow represents caution, decay, sickness, and jealousy. In ancient Chinese culture yellow is a sacred color, and it represent earth, the end of summer season, the central part of the country, and the planet Saturn and it is also nourishing color. In Islamic culture the color gold represent the sun and the star, it gives the color to the eyes happiness to the hea