Colors - 6TH Sem 2018

INSTITUTE OF HOTEL MANAGEMENT
COLORS
Colour is not just a physiological reaction, a sensation resulting from different wavelengths
on receptors in our eyes, but has an effect on our feelings, behaviour, well-being and
preferences as well as choices.
“It is stimulating, calming, expressive, disturbing, impressionable, cultural, exuberant, and
symbolic. It pervades every aspect of our lives, embellishes the ordinary, and gives beauty
and drama to everyday objects”.
“Colour can sway thinking, change actions, and cause reactions. It can irritate or soothe your
eyes, raise your blood pressure or suppress your appetite. When used in the right ways, colour
can even save on energy consumption”.
The most important functions of colours are to provide visual and psychological information
that generates reactions from a viewer. As a powerful form of communication, colour is
irreplaceable. Red means “stop” and green means “go.” Traffic lights send this universal
message. Likewise, the colours used for a product, packaging, marketing, building interiors,
etc. cause powerful reactions. Hence, the artist, architect or designer can provoke various
responses and so become the controller of what that viewer perceives.
Brief history of colors
Red –Found in iron-rich soil and first

employed as an artistic material
in prehistoric cave paintings, Red ochre is
one of the oldest pigments still in use.
Centuries later, during the 16th and 17th
centuries, the most popular red pigment came
from a cochineal insect, a creature that could
only be found on prickly-pear cacti in
Mexico.
Blue- Mother Mary’s iconic hue—called

ultramarine blue—comes from lapis lazuli,
a gemstone that for centuries could only be
found in a single mountain range in
Afghanistan. For hundreds of years, the
cost of lapis lazuli rivaled even the price of
gold.
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Course: B.SC. In H & HA January’19
Semester 6(housekeeping); Lesson: Colours
From at least 4000 B.C Lapis Lazuli was

being traded westward from Afghanistan to
the burial grounds of Mesopotamia.
The importance of Lapis Lazuli to the

people of Mesopotamia can be revealed
when talking of the three heavens of
Mesopotamian lore.
Green-While the color green evokes nature and renewal; its

pigments have been some of the most poisonous in history.
In 1775, the Swedish chemist Carl Wilhelm Scheele
invented a deadly hue, Scheele’s Green, a bright green
pigment laced with the toxic chemical arsenic. Cheap to
produce, Scheele’s Green became a sensation in the
Victorian era, even though many suspected the color to be
dangerous for artists and patrons alike.
By the end of the 19th century, Paris green—a similar
mixture of copper and arsenic—replaced Scheele’s Green
SCIENCE OF COLOR-
Colour is a visual experience, a sensation of

light that cannot be verified by other senses-
not by touch, taste, smell, or hearing. The
eye’s retina absorbs the light sent to us from
luminous objects (e.g. light bulb) or reflected
from a non-luminous object (e.g. a table and
chair) and sends a signal, or sensation, to the
brain. This sensation makes us aware of a
characteristic of light, which is colour.
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Scientifically, light (made up from photons) is just one form of visible energy while colour is
simply light of different wavelengths and frequencies. We see colour, through the sensors in
the retina of our eyes called rods and cones. The rods are very sensitive to light but are
mostly colour blind. The colour detectors in the eye are the cones. Each cone contains one of
three pigments sensitive to RED,
GREEN or BLUE. Each pigment
absorbs a particular wavelength of
colour e.g. Short wavelength cones
absorb blue light, middle wavelength
cones absorb green light, and long
wavelength cones absorb red light.
When we observe a colour that has a
wavelength between that of the
primary colours red, yellow and blue, combinations of the cones are stimulated. The result is
that we can detect light of all colours in the visible spectrum. Each colour has its own
properties with its own wavelength and frequency. The human eye is able to sense
wavelengths of light ranging from about 400 nm to about 700 nm. Red is the longest visible
wavelength (720 nm), followed in order by orange, yellow, green, blue/cyan, indigo, and
violet, the shortest visible wavelength (380 nm). ROYGBIV is an acronym for these
wavelengths, which are the colours of the Visible Spectrum.
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Colour Description: - Properties of color
To give a precise description of a colour can be difficult. Colour has four distinct properties:
hue, value, saturation. To understand colour you must understand how these four properties
relate to each other.
• Hue: The name of the colour

• Value: The lightness or darkness of hue
• Saturation or intensity (chroma): The purity of hue, brightness or dullness
• Temperature: The warmth and coolness of hue
Hue:
A hue name is the name of the colour which is used to describe a particular wavelength. The
average person can distinguish about 150 colors (hues) of light and everyone can be
described using one or two of only six words- Red, orange, yellow, green, blue and violet. A
colour is usually called by the name of its most obvious, or dominant, hue. A hue without any
white, black, grey or complementary in it is called a pure hue. Different hues can be obtained
by mixing two primaries, two adjacent colours or two complementary colours in equal or
unequal proportions.
• Chromatic: Having hue

• Achromatic: Without hue
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• Polychromatic: Having many hues

• Monochromatic: Having one hue only
Value:
Value is concerned with the light and dark properties of colour. All colours exhibit these
properties. The hues have a natural value where they look the purest. Some colours, like
yellow, are naturally light. Some, like violet, are darker. All hues can be made in all values.
Adding white paint will make any pigment lighter. Adding black paint will make most
pigments darker, but will cause yellow paint to shift in hue to green. Value can exist without
hue (see achromatic). Black, white and gray are values without colour. White is the highest
possible value while black is the lowest. Gray as the midpoint between black and white, is a
medium value, neither dark nor light.
Tints, Shades & Tones:
• Tints and Shades:

Pure hues are often diluted to change their value to make them lighter or darker. A tint is a
hue that has been made lighter (by adding white). A shade is a hue that has been made darker
(by adding black). Tinting a colour retain the hue while making it more light-reflecting. In
contrast, shades reduce hue experiences. Black absorbs all wavelengths of light and hence,
reduces light reflectance, dull and muted.
• Tones:
There is no really satisfactory definition for “tone.” It is defined as “pure colour diluted by
black or white,” which we know as a tint or shade. A second definition states that tone is “one
hue modified by another” (as in “this is a blue tone that is a greener one”). The third meaning
is given as “a hue muted by gray.” Each definition means a modification of hue, but each
means a different kind of modification of hue. The first means dilution by changing value, the
second means dilution by changing hue, the third dilution by adding gray.
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Intensity/ Chroma/ Saturation:
The third descriptive quality of colour is

saturation, or chroma or intensity. It defines
the degree of purity of a hue or the contrast
between dull and vivid (bright).The
beginning of a saturation scale is a colour
that is hue- intense. The end step is a colour
so muted that its hue can just be identified.
Temperature:
The temperature of a colour is its relative

warmth or coolness. Cool and warm are two
opposing qualities of hue. Cool colours
contain blue or green: blues, greens, violets,
and steps between them. Promotes the feeling
of cleanliness, freshness, cold, calm serenity,
trust and relaxation.
Warm colours are reds, oranges, yellow, and
steps between them. Colour temperatures
affect us both psychologically and
perceptually. They help determine how objects
appear positioned in space. Suggest warm and
heartfelt emotions. Evoke strong emotional
response and stimulate physical activities.
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Express an aggressive feel or to create and emphasis.

Warm colours are said to advance (they appear closer to the observer). Cool colours tend to
recede (they appear farther from the observer).
Types of Colour Wheel:
The artist color wheel (based in blue, red, and yellow) predates modern science and was
discovered by Newton’s prism experiments.
There are two basic color models that art and design students need to learn in order to have an
expert command over color, whether doing print publications in graphic design or combining
pigment for printing. These two color models are:
1. Light Color Primaries (Red, Green, Blue)

2. Pigment Color Primaries (Cyan, Magenta, Yellow)
The colour wheel is a visual representation of colour theory. The different types of colour
system/ wheels are:
 The Pigment wheel and The Process wheel ( additive and subtractive color)
 The Munsell system/ wheel
 The Prang color system/wheel
 The Pigment Wheel:
The pigment wheel works with

subtractive colours and gives
information about the colour
reactions when they are actually
mixed.
 The Process Wheel-
The Process Wheel has yellow,

magenta and cyan as the three
basic primaries that result in
purer hues when mixed as
contrast to Pigment Wheel. This
system is used in printing and
photography.
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Additive (Light) Color Primaries
Red, green, and blue are the primary colors of light—“They can be combined in different
proportions to make all other colors. For example, red light and green light added together
are seen as yellow light. This additive color system is used by light sources, such as
televisions and computer monitors, to create a wide range of colors. When different
proportions of red, green, and blue light enter your eye, your brain is able to interpret the
different combinations as different colors.”
Source: Harvard—Smithsonian Centre for Astrophysics
Additive (Light)-
 Color is transmitted through transparent media.
 All colors added together = white.
 The absence of light = true black.
 Because computer graphics, websites, and other digital presentations are
projected/transmitted with light, screen-targeted graphics should be saved in this color
model, or “RGB Mode.”
 IMPORTANT: Note that when RGB’s primaries are mixed evenly that they create
the secondary colors of our next color model, CMY (Cyan, Magenta, and Yellow)!
Subtractive (Pigment) Color Primaries
However, there is another set of primary colors with which you may be more familiar. The
primary colors of pigment (also known as subtractive primaries) are used when producing
colors from reflected light; for example, when mixing paint or using a color printer. The
primary colors of pigment are magenta, yellow, and cyan (commonly simplified as red,
yellow, and blue).
Pigments are chemicals that absorb selective wavelengths—they prevent certain
wavelengths of light from being transmitted or reflected. Because paints contain pigments,
when white light (which is composed of red, green, and blue light) shines on colored paint,
only some of the wavelengths of light are reflected. For example, cyan paint absorbs red
light but reflects blue and green light; yellow paint absorbs blue light but reflects red and
green light. If cyan paint is mixed with yellow paint, you see green paint because both red
and blue light are absorbed and only green light is reflected.
Source: Harvard—Smithsonian Centre for Astrophysics
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Subtractive (Pigment)-
 These primaries are ultimately derived from the RGB model as secondary colors. The
main reason they are promoted to having their own color model is because it is from
CMY that we can create all other printable colors. Remember that, ultimately, without
the existence of RGB light wavelengths, we would see nothing.
 Color is absorbed by and reflected off of media.
 Because these colors are achieved via reflection, we assume a pure white ground as the
base filter for pure colors.
 All colors added together = near black.
 To achieve true black, pure black must be added, thus giving us the CMYK model
(K=black). This is the standard color model for most printing, thus graphics for print are
typically prepared in “CMYK Mode.”
 While most printers recognize this model as the standard pigment model, the traditional
artist Color Wheel substitutes Blue as the Cyan primary and Red as the Magenta primary,
resulting in slightly different secondary and tertiary results.
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• The Munsell Wheel:
Munsell developed a Partitive colour

system based on five primary hues –
yellow, red, green, blue and purple. His
colour system was based on after image
perceptions that are derived from hues
that we see in nature. He set each after
image as the compliment to the primary
hues.
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 PRANG COLOR SYSTEM
In 1660, Sir Isaac Newtown directed a beam of

light through a prism which created a rainbow
effect – the light was split into a spectrum of
colors which was linear with red tones at one end
and violets at the other. By joining the two ends
of the spectrum Newton formed the idea of the
color wheel.
M. E. Chevreul (1786-1889) was a French
chemist and head of dyestuffs at the Gobelin
Tapestry Works. In 1825 he published The
Principles of Harmony and Contrast of Colors,
which expanded on the color wheel theory.
In 1876, Louis Prang (1824 -1909) advanced color wheel theory and developed a color wheel
which is commonly known as the Artist's or Prang color wheel. Prang's system was the first
workable system to reproduce color in print.
The color wheel consists of three primary colors: red, yellow and blue, between the primary
colors there are three secondary colors: orange, purple and green. These secondary colors
are created by mixing the two neighbouring primary colors.
Tertiary or intermediate colors are created by mixing a primary and a secondary color. The
tertiary colors are: yellow-orange, yellow–green, blue-green, blue-violet, red-orange, and red-
violet.
Working with the color wheel as a guide there are several types of color harmonies or
schemes that can be created:
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COLOR SCHEMES
Chromatic, Achromatic, Neutral:
 Achromatic Colours: in Greek it

means without colors: Black, white
and grey colours
 Chromatic Colours: chromatic

color is a color which has even the
slightest amount of hue that is any
colours other than white, grey and
black.
 Neutral colours: Mixture of chromatic

and achromatic colour will partially
neutralize the resultant colour. White
with any small amount of color is
considered neutralized.
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 Polychromatic colours- The term

polychromatic means having several
colors. It is used to describe light that
exhibits more than one color, which also
means that it contains radiation of more
than one wavelength. For e.g. Rich
colourful gardens are polychromatic. This
type of design can be festive.
 Monochromatic color- this color

scheme uses only one color from the
wheel. It has many values of a single
colour. They are developed from a single
hue. Different tints and shades are used.
They May be enhanced by texture, metal,
glass and fabrics.
 Analogous color- schemes are also referred

to as Harmonious schemes; the colors used
are adjacent to each other on the color
wheel. Three to six colors are used with one
predominating. Success with this type of
scheme relies upon using a variety of values
and intensities and varying proportions of
each color.
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 Complimentary schemes use colors that

are opposite on the color wheel, opposites
intensify each other. There are several
variations of complimentary schemes:
Direct compliment –uses pairs exactly

opposite such as red and green.
 Split compliment – the

base hue and the two
colors on each side of
the compliment such as
green, red-orange and
red-violet.
 Double compliment – Would be two pairs

exactly opposite such as red and green with
yellow and violet.
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 Triadic complement – uses

three colors equidistant on the wheel
such as green, orange and violet.
 Tetrad color scheme- The square or rectangle may be

rotated at will, with each resulting 4 colors creating new
harmonious tetrad colour schemes.
The result will also vary in boldness and sophistication based

on which pairs you choose. When you use pairs of Primary
Colors and Secondary Colors as we have here, the
resulting colour scheme will be more vibrant and bold.
It is believed that complimentary schemes more beautiful
than analogous schemes. All schemes are more aesthetically
pleasing when used in unequal proportions with one color
dominating.
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EFFECTS OF COLOR
Color by the Size

Color is the least expensive way to remodel a room to fit any lifestyle. Color is a subtle, yet
fundamental, design element. When used properly it changes the room from a space to an
experience. Color and harmony enhance the aesthetics of the home and provide cohesion of
design. Color schemes can be generalized in a few categories: geographic location, area of
the house, room style, mood, and light. Color choices can alter a room’s proportions.
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COOL COLORS
Blues and greens recede, because walls painted in cool
colors appear more distant than they really are. Cool
colors can make a small room seem larger.
WARM COLORS
Reds and yellows advance a room. Walls covered in warm
colors seem to move inward making a large room appear
smaller. Warm colors are energetic and intense and attract
attention.
LIGHT COLORS
Cool colors are calm and soothing. The lighter palette reflects more light and makes a room
feel more expansive.
DARK COLORS
 The darker hues can make the same room intimate.
 To create the illusion of raising a low ceiling, select a paint color that is lighter than
the walls. Conversely, a high ceiling can be lowered by not only selecting a tone that
is darker than the walls, but painting it down to either picture or plate rail height.
 To make a large floor surface seem smaller, paint or select a floor covering that is
darker than the room’s walls. The floor color will define the boundaries of the room
moving the eye downward.
 If you need to shorten a narrow room or a long hallway, paint the end walls in a
warmer or darker color than the side walls. The distance between the end walls will
appear to decrease. To widen a room or hallway, use light colors on the walls,
ceiling, and floor.
 To make a square room seem more interesting, paint one wall a focal or accent color.
A single dark wall will create the illusion of moving into the room; a single light-
colored wall will push outward. Window walls will appear darker because they
receive only reflected light.
 Paint’s finish will also influence the proportions of a room. A matte or flat finish will
reflect the least amount of light making a room seem slightly smaller. While high
gloss paint is the most durable and reflects the most light, it is seldom used to make a
room look larger because it also highlights surface imperfections. In a small room,
eggshell and satin finishes are often selected.
Consider the paint color in the context of the room’s lighting. Incandescent light
emphasizes the yellow and red spectrum making those colors more intense.
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Fluorescent lights that are not color corrected to mimic daylight will have a cold,
blue effect on color. Daylight will influence color depending on the time of day.
Note- A room with southern exposure will feel cooler and larger when painted in
refreshing blues and greens. A room with southern exposure painted in warm colors will
appear warmer and smaller. A space with northern exposure will appear warmer and
smaller painted in yellows and reds.
Finally, keep in mind that the color on a paint chip will seem less intense or lighter than the
color applied to e3ntire wall
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COLOR IMPACTS MOOD
Artists and interior designers have

long believed that color can
dramatically affect moods, feelings,
and emotions. "Colors, like
features, follow the changes of the
emotions," the artist Pablo Picasso
once remarked.
Color is a powerful communication

tool and can be used to signal
action, influence mood, and even
influence physiological reactions.
Color Psychology as Therapy
Several ancient cultures, including the Egyptians and Chinese, practiced chromo therapy,
or the use of colors to heal. Chromotherapy is sometimes referred to as light therapy or
colorology and is still used today as a holistic or alternative treatment.
In this treatment:
 Red was used to stimulate the body and mind and to increase circulation.
 Yellow was thought to stimulate the nerves and purify the body.
 Orange was used to heal the lungs and to increase energy levels.
 Blue was believed to soothe illnesses and treat pain.
 Indigo shades were thought to alleviate skin problems.
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Modern Research on Color Psychology
Most psychologists view color therapy with scepticism and point out that the supposed
effects of color are often grossly exaggerated. Colors also have different meanings in
different cultures. Research has demonstrated in many cases that the mood-altering effects
of color may only be temporary. A blue room may initially cause feelings of calm, but the
effect dissipates after a short period of time.
However, the existing research has found that color can impact people in a variety of
surprising ways:
 Anecdotal evidence has suggested that installing blue-colored streetlights can lead to
reduced crime in those areas.
 More recently, researchers discovered that the color red causes people to react with
greater speed and force, something that might prove useful during athletic activities.
 A study that looked at historical data found that sports teams dressed in mostly black
uniforms are more likely to receive penalties and that students were more likely to
associate negative qualities with a player wearing a black uniform.
Color Can Influence Performance
Studies have also shown that certain colors can have an impact on performance. No one
likes to see a graded test covered in red ink, but one study found that seeing the color red
before taking an exam actually hurt test performance. While the color red is often
described as threatening, arousing or exciting, many previous studies on the impact of the
color red have been largely inconclusive. The study found, however, that exposing
students to the color red prior to an exam has been shown to have a negative impact on
test performance.
Additional Research Is Still Needed
Interest in the subject of color psychology is growing, but there remain a number of
unanswered questions. How do color associations develop? How powerful is the influence of
these associations on real-world behaviour? Can color be used to increase worker
productivity or workplace safety? What colors have an impact on consumer behaviour? Do
certain personality types prefer certain colors? As researchers continue to explore such
questions, we may soon learn more about the impact that color has on human psychology.
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Note-
Color can play an important role in conveying information, creating certain moods, and even
influencing the decisions people make. Color preferences also exert an influence on the
objects people choose to purchase, the clothes they wear, and the way they adorn their
environments. People often select objects in colors that evoke certain moods or feelings, such
as selecting a car color that seems sporty, futuristic, sleek, or trustworthy. Room colors can
also be used to evoke specific moods, such as painting a bedroom a soft green to create a
peaceful mood.
So what's the bottom line? Experts have found that while color can have an influence on how
we feel and act, these effects are subject to personal, cultural, and situational factors. More
scientific research is needed to gain a better understanding of color psychology.
The feeling of a room can be created by using different combinations of colour. For calm,
quiet room select a neutral colour and apply different shades of that colour. For a relaxing
effect select related colors: green and blues are examples of this. Use a colour wheel to
help select colors that are similar
 Red
 Courage, passion, love, danger, fire, strength
 Yellow
 Cowardice, delicate, optimism, warmth, sunlight
 Orange
 Cheerfulness, stimulation, sunset
When muted may appear cool or refreshing
 Blue
 Honesty, truth, loyalty, sky, masculine
 Green
 Envy, safety, peace, passivity, nature, serenity
 Violet
 Royalty, snobbery, power, drama, worship
 White
 Purity, cleanliness, sterility, freshness
 Black
 Mourning, sorrow, sophistication, mystery, night
 Brown
 Earth, wood, warmth, comfort, support
 Grey
 Gloom, storm, fog, wisdom, intelligence, high-tech
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DO COLORS REALLY WRAP OUR BEHAVIOUR
We can spend hours choosing the right paint colour for a room to create just the
mood we want. We pore over paint charts and bring home tester pots. Doctors’
surgeries are painted white to give us that sense of clinical cleanliness, fast food
shops are red or yellow and some prison cells are painted pink in the hope of
reducing aggression.
We might think we know which colours do what. The idea that red wakes us up or
blue calms us down is deeply engrained in Western culture - to the point that many
consider it a fact. But do they really change our behaviour in the ways that we
assume?
When it comes to scientific research, the results are mixed and at times contested. Red
is the colour that gets studied most often and tends to be compared with either blue or
green. Some studies have found that people do better on cognitive tasks when faced
with red rather than blue or green; others show the opposite. The mechanism most
often cited is conditioning. The idea is that if you repeatedly have a particular
experience surrounded by a certain colour, then you eventually begin to associate that
colour with the way you were feeling or behaving. It’s been suggested that a school
career spent reading your teacher’s red writing circling your mistakes forever makes
you link red with danger and this is underlined by the fact that poisonous fruits are
often red. Blue meanwhile is more
likely to be associated with calmer
situations like staring at the sea or
marvelling at a big blue expanse of
sky.
Of course there will always be

exceptions – the comment from the
teacher saying “well done” is also written in red and raspberries are red, but
perfectly edible. It is true that people do make different associations with different
colours, but whether this translates into behaving in a certain way or succeeding at a
particular task is a different question.
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After so many mixed results in the past, in 2009 researchers at the University of
British Columbia tried to clarify the situation once and for all. They sat their
participants at computer screens coloured blue, red or “neutral” and tested them on
various tasks. With a red screen people did better on tests of memory and proof-
reading, tasks requiring attention to detail, but when the screen was blue they did
better on creative tasks, such as thinking of as many uses as possible for a single
brick. The authors speculated that red signalled "avoidance" and so they were more
careful, while blue motivated the opposite: an "approach" behaviour that encouraged
them to be freer with their thinking, resulting in more creativity. To test this idea, the
researchers then asked the volunteers to solve anagrams of different words – relating
to either avoidance or approach behaviours. The subjects tended to solve the
avoidance words faster if they were presented on a red background, and the approach
words more quickly if they were presented on a blue background – suggesting that the
colours and behaviours were associated in their minds.
The team even speculated about the practical uses of their findings. For example, they
wondered whether walls should be painted different colours depending on the task at
hand – red for a team looking at the side effects of a new drug, for example, or blue
for a room for creative brainstorming. In practice this might be tricky. In an office or
a classroom you might want to think creatively some of the time and pay attention to
detail at others.
Warning, or desire?
In any case, question marks are now hanging over the discovery itself. When another
team tried to replicate the anagram part of the study with a larger group of people in
2014, the effect of colour disappeared. The initial study comprised just 69 people. In
this new, bigger study, of 263 volunteers, background colour made no difference.
The same team also raised questions about another landmark finding,
originally conducted by Oliver Genschow at the University of Basel in Switzerland.
Genschow’s team had offered their volunteers a plate of pretzels, and told them to eat
as many as they felt they needed to make a judgement about the taste.
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Rather sweetly, one in six people had to be excluded because they were kind enough
to share their pretzels with others which defeated the object of the research. But when
that was taken into consideration, the colour red once again seemed to serve as a
warning, and people offered pretzels from a red plate took fewer. Yet when the team
from Appalachian State University followed the same procedure their results were the
exact opposite – people with red plates ate more pretzels.
Pink prisons
Clearly, studying the effect of colour is much harder than it looks - or maybe colours
just don’t have the effect that we expect. Yet we are convinced enough that they do for
some prisons in the USA, Switzerland, Germany, Poland, Austria and the UK to paint
their cells in a particular shade of pink. In Switzerland 20% of prisons and police
stations have at least one pink cell. It’s a shade I’d call blancmange pink, but its
proper name is Baker-Miller pink, after two US Naval officers who first studied the
effects of pink walls on prisoners.
Back in 1979 prisoners were shown a blue card or a pink card and then had to try to
resist the pressure of the experimenter pushing down on their arms. With the blue
card they pushed harder, so was the pink card somehow reducing their aggression?
Possibly not. The experimenter knew which card had been shown, so without even
realising it they might have eased up a bit on the pink card. What’s more they had a
trial run, followed by the pink card and finally the blue, so perhaps they were just
more practiced when it came to the blue card. Several attempts to replicate these
results in better-designed studies
have failed. But they did follow up
with an experiment conducted in
real prison cells which were either
white or pink, mixing a pint of red
paint with a gallon of white to
obtain this lovely shade. Once
again the order of the colours was
the same for everyone, so maybe it was the repainting of the cell that made a
difference, rather than its pinkness.
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In 2014, Genschow’s team entered a maximum security jail in Switzerland to re-

examine the hypothesis. Their study was far better designed than the research from 30
years ago. Inmates held in detention after breaking prison regulations were
randomised to cells either painted pink all over or with grey on the walls and white on
the ceiling. Prison officers were trained to use an aggression scale to assess the
prisoners’ behaviour. The results were disappointing for those who have gone to the
trouble to paint cells pink. After three days in the either cell prisoner were less
aggressive than when they were first brought to cell. The colour of the walls made no
difference at all.
The authors concede that a larger study might have found differences, but if the
colour only makes a difference for a few people, then authorities need to make a
judgement about whether it’s worthwhile. The researchers even suggest that
blancmange pink walls might have negative effects if prisoners feel emasculated by
having a traditionally feminine colour on the walls.
So colours might well have an effect, but so far those effects have been difficult to
demonstrate consistently and sometimes don’t seem to exist at all. Better-controlled
studies are slowly emerging, but it may be some time before we get a full picture of
how colour affects us, let alone understand the exact mechanisms through which it
happens. For the time being, interior decoration should be, as ever, a mix of personal
taste and artistic flair.
By Claudia Hammond
6 April 2015
_____________________________@@@@@@@@______________________________
Page 21
Reference and authorship

 Sources
o From Book
Source: Adapted from Raghu Balan (2014), Housekeeping Operation, Oxford

Publication, New Delhi, ISBN 10:0-19-945051-X
o From website
Source: Adapted from –

https://www.artsy.net/article/the-art-genome-project-a-brief-history-of-color-in-art
http://artinarch.com/ct10.html
http://www.dsource.in/course/colour-theory/interior/interior.html
http://www.coloraday.com/research_learning/sp_systems/systems.html
https://www.scribd.com/doc/7900352/Color-Theory
http://learn.leighcotnoir.com/artspeak/elements-color/primary-colors/
https://www.verywell.com/color-psychology-2795824
https://www.youtube.com/watch?v=n09P3ExNnB0
http://www.bbc.com/future/story/20150402-do-colours-really-change-our-mood
o Authorship
Creator of hand out: Rita Mitra, IHM, Kolkata
Page 22

Colors - 6TH Sem 2018

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INSTITUTE OF HOTEL MANAGEMENT

Brief history of colors

Red –Found in iron-rich soil and first

Blue- Mother Mary’s iconic hue—called

From at least 4000 B.C Lapis Lazuli was

The importance of Lapis Lazuli to the

Green-While the color green evokes nature and renewal; its

Colour is a visual experience, a sensation of

Colour Description: - Properties of color

• Hue: The name of the colour

• Chromatic: Having hue

• Polychromatic: Having many hues

Tints, Shades & Tones:

• Tints and Shades:

Intensity/ Chroma/ Saturation:

The third descriptive quality of colour is

The temperature of a colour is its relative

Express an aggressive feel or to create and emphasis.

Types of Colour Wheel:

1. Light Color Primaries (Red, Green, Blue)

 The Pigment Wheel:

The pigment wheel works with

The Process Wheel has yellow,

Additive (Light) Color Primaries

Subtractive (Pigment) Color Primaries

• The Munsell Wheel:

Munsell developed a Partitive colour

 PRANG COLOR SYSTEM

In 1660, Sir Isaac Newtown directed a beam of

Chromatic, Achromatic, Neutral:

 Achromatic Colours: in Greek it

 Chromatic Colours: chromatic

 Neutral colours: Mixture of chromatic

 Polychromatic colours- The term

 Monochromatic color- this color

 Analogous color- schemes are also referred

 Complimentary schemes use colors that

Direct compliment –uses pairs exactly

 Split compliment – the

 Double compliment – Would be two pairs

 Triadic complement – uses

 Tetrad color scheme- The square or rectangle may be

The result will also vary in boldness and sophistication based

Color by the Size

COLOR IMPACTS MOOD

Artists and interior designers have

Color is a powerful communication

Color Psychology as Therapy

Modern Research on Color Psychology

Color Can Influence Performance

Additional Research Is Still Needed

DO COLORS REALLY WRAP OUR BEHAVIOUR

Of course there will always be

In 2014, Genschow’s team entered a maximum security jail in Switzerland to re-

Reference and authorship

Source: Adapted from Raghu Balan (2014), Housekeeping Operation, Oxford

Source: Adapted from –

Creator of hand out: Rita Mitra, IHM, Kolkata

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