1. INTERIOR DESIGN by John F. Pile Chapter 9: Color

2. COLOR CH. 10

7. On cloudy days, daylight is weak in red-orange, so it appears bluish.

9. Additive colors

10. Subtractive color In interior design (as in painting, printing, and any other situation using pigments and dyes as the colorants), one is usually working with subtractive color. That is, the object or material absorbs, or subtracts, all the color of light except the color of object, which is the color we see. For example, a red object is actually one that absorbs all colors but red and reflects back only red light.

11. + + + + + + = The addition of the spectrum colors give us black color

12. The color wheel

21. Why the sky is blue?

26. DANGER HOT STOP Annoying !!

28. Psychological Impact of colors

31. WHAT IS YOUR FAVOURATE COLOR?

33. ed R Reds are seen as warm, even hot, exciting, and stimulating. They are associated with tension and danger (heat and fire) Reds are seen as warm, even hot, exciting, and stimulating. They are associated with tension and danger (heat and fire)

38. ellow Y Yellow tends to cause more eye fatigue than any other color. It increases metabolism and upsets babies. People also tend to lose their temper more often in yellow rooms. Yellow often makes many people feel cheerful, energetic, and happy. Buttery shades are easier to live with long term than bright, sunflower yellow. The range of yellows is vast and some lend themselves more readily to decorating schemes than others. Yellows also frequently prompt more opinionated feelings than other colors. People who like it, really like it and people who don´t, tend to dislike it intensely. Yellow, the mildest of the warm colors, are usually associated with cheerfulness, even humor (in theatre lighting, it is traditional to use yellow for comedy scenes). Yellow tints (creams and beiges) are known as safe colors, with no negative implications, but their overuse subjects them to insipidity .

42. ellow lue B Blues are the coolest of the cool colors, suggesting rest and repose, calm and dignity. Overused or in too strong a chroma, blues can generate depression and gloom, as evident in the phrase ‘’to have the blues’’. Intense blue in small areas can be a helpful accent in warm and warm-neutral color schemes.

44. Historically, purple is the color of kings. It may arguably be the most opulent of colors, and often connotes mystery or spirituality. Purples run the range of the red-purple such as eggplant to the blue-purples of a summer sky at sunset. Saturated purple is a dense, dark color that can provide a potent punch of color with great impact. As a tint, purple tends to lavender and is one of the daintier colors favored by many young girls. In certain shades, it can become a subtle, but very flexible neutral. iolet v

47. G ray Neutral colors-grays, less warm, cool, or exactly neutral, as well as browns and tans- tend to convey, in milder form, the impressions of the hues that they contain in dilute form. The truly neutral grays make good background colors, easy to live with over long periods. However, they are subject to dullness and an impression of monotony. When used with limited areas of more chromatic color, grays can be very useful.

49. Whites and near whites suggest clarity, opens, and brightness. White is always a safe color and can be used in large area to highly satisfactory effect if offset with small area of chromatic color. The association with cleanliness and empty, but whites used with appropriate accents imply modernity and highly style, perhaps in part because whites were so widely used by early modernist designers.

64. Effect of texture, pattern, metallic materials

65. Texture Textured surfaces alter apparent color by introducing shadow or gloss at a micros cal. The color seen is then the color of the material modified by these textural elements. Because of these effects, many textured materials will shift color when observed at different angles or when rubbed or stroked in one direction or another. For example, if it is left unfinished or is finished to preserve its natural color and texture, may change color according to the angle of lighting. Textiles and carpets with strong texture shift the angle of lighting. Textiles and carpets with strong texture shift the visual appearance of the actual dye color in ways that are hard to predict. In order to take texture into account, color effects should be judged from actual samples of the material to be used.

75. COLOR IN DIFFIRENT FUNCTIONS

84. The E nd