BICOL STATE COLLEGE OF APPLIED SCIENCES AND TECHNOLOGY

CITY OF NAGA
S/Y 2021-2022

ACTIVITY 15

KINESTHETIC QUALITY OF
SPACE AND CHROMATIC ENERGY
OF ARCHITECTURAL DESIGN

THEORY OR ARCHITECTURE
THOA111B

JENZ HOPE S. NOVELA

BSA-1C

ARCH. IAN KENNETH L. ORASA

UAP,RMP
KINESTHETIC QUALITY OF SPACE

KINESTHETICS PERTAIN TO A PERSON'S AWARENESS OF

THE POSITION AND MOVEMENT OF THE PARTS OF THE BODY BY
MEANS OF SENSORY ORGANS CALLED PROPRIOCEPTORS, IN
THE MUSCLES AND JOINTS. PROPRIOCEPTORS ARE SENSES
THOSE CONCERNED WITH PERCEIVING THE BODY’S OWN
MOVEMENT AND WITH INFORMING THE INDIVIDUAL’S POSITION
AND THE POSITION OF THE LIMBS, IN SPACE. SHAPES OR
CONFORMATION OF THE SPACE AND PARTICULARLY THE
KINESTHETIC SENSATIONS OF SPACE AS WE MOVE THROUGH
THE ENVIRONMENT IS EXPRESSED THROUGH THE PERCEPTION
OF EDGES.

IN ARCHITECTURE, THE KINESTHETIC QUALITY OF SPACE

REFERS TO THE ABILITY OF A PERSON TO MOVE FREELY IN A
PARTICULAR SPACE. IN DESIGN, WE ARE NOT DEALING WITH
GEOMETRICAL MASSES AS BASIC OBSTRUCTIONS, BUT AS
FORMS TO BE CONNECTED TOGETHER AND PENETRATED BY
HUMAN MOVEMENT. KINESTHETIC QUALITY OF SPACE
CONTRIBUTES TO HELP UNDERSTAND HOW PEOPLE MOVE
AROUND THROUGH THE CIRCULATORY SYSTEM, AND MOSTLY
HOW SMOOTHLY AND EASILY THEY DO MOVE FROM ONE AREA
OF ACTIVITY TO ANOTHER.

THIS CONCEPT PUTS EASE IN READING A PLAN MERELY BY

OBSERVING MOVEMENTS OF AN INDIVIDUALS IN A SPACE,
FROM THE MOMENT THEY ARRIVE AT THE PORT OF ENTRY TO
THE TIME THEY COME OUT OF THE BUILDING , AND ALSO BY
PUTTING OURSELVES INTO THE MINDS OF THE MANY SORTS OF
PEOPLE AND VARIOUS KINDS OF ACTIVITY THEY PARTICIPATE
INTO WHILE IN THE BUILDING.


HIDDEN ZONES IN OFFICES

AN OFFICE IS A BUILDING, PORTION OF A BUILDING, OR A ROOM, THAT IS

USED FOR DESK-BASED BUSINESS PURPOSES

1. THE IMMEDIATE WORK AREA OF THE DESKTOP AND CHAIR.

2. A SERIES OF POINTS WITHIN ARM'S REACH OUTSIDE THE

DESKTOP AREA.

3. SPACES MARKED AS THE LIMIT REACHED WHEN ONE PUSHES

AWAY FROM THE DESK TO ACHIEVE A LITTLE DISTANCE FROM
THE WORK WITHOUT ACTUALLY GETTING UP.

AN ENCLOSURE THAT PERMITS ONLY MOBILITY WITHIN THE FIRST SECTION

IS VIEWED AS CRAMPED. AN OFFICE THE SIZE OF THE SECOND IS
CONSIDERED "SMALL." AN OFFICE WITH ZONE 3 SPACE IS CONSIDERED
APPROPRIATE AND IN SOME SITUATIONS AMPLE. KINESTHETIC SPACE IS A
CRUCIAL ASPECT IN DAY-TO-DAY LIVING IN THE BUILDINGS THAT ARCHITECTS
AND DESIGNERS DEVELOP.

PLANNED TRAFFIC FLOW

THE PREPARATION OF A TRAFFIC FLOW PLAN CONSTITUTES A

CRUCIAL PRELIMINARY STEP TO THE DESIGN OF A TRAFFIC CONTROL PLAN.
THE TRAFFIC DEMAND ANALYSIS COMPONENT OF A FEASIBILITY STUDY
IDENTIFIES THE FREEWAY/ARTERIAL CORRIDORS AND LOCAL STREETS THAT
EVENT PATRONS WILL UTILIZE TO ACCESS THE VENUE SITE AREA. IN
DESIGNING A TRAFFIC FLOW PLAN, THE EVENT PLANNING TEAM ALTERS
EXPECTED FLOW PATHS TO MAXIMIZE TRANSPORTATION SYSTEM OPERATING
EFFICIENCY ON THE DAY-OF-EVENT WHILE ADDRESSING PUBLIC SAFETY
AGENCY NEEDS. IN TURN, A TRAFFIC CONTROL PLAN SUPPORTS TRAFFIC
FLOW ON RECOMMENDED FLOW ROUTES USING SERVICE-ENHANCING
METHODS AND TACTICS THAT HANDLE EXPECTED EVENT TRAFFIC DEMAND
ON THESE ROUTE.
THE ADVANTAGE OF DEVELOPING A TRAFFIC FLOW PLAN IS TWO-FOLD:

ENABLES THE EVENT ORGANIZING TEAM TO INFLUENCE AND

REGULATE EVENT PATRON PATTERNS OF INGRESS AND EGRESS. THIS
ENHANCES TRANSPORTATION SYSTEM OPERATIONS AND DECREASES
THE IMPACT TO NEIGHBORS SURROUNDING THE EVENT VENUE.

PROVIDES CRUCIAL PRIOR INFORMATION FOR EVENT PATRONS AND

PARTICIPANTS REGARDING BEST ACCESS ROUTES TO THE EVENT.
THESE DIRECTIONS ALLOW EVENT ATTENDEES, PARTICULARLY THOSE
NOT FAMILIAR WITH THE REGION, AN INCREASED SENSE OF
CONFIDENCE WHEN TRAVELING ON THE DAY-OF-EVENT. EVENT
ATTENDEES ALSO REALIZE THAT THE TRAFFIC MANAGEMENT TEAM
WILL SIGN, STAFF, AND PRIORITIZE FLOW ON DESIGNATED ROUTES.
NON-ATTENDEE TRANSPORTATION SYSTEM USERS BENEFIT FROM
OBTAINING ADVANCE INFORMATION ABOUT EVENT-DESIGNATED
TRAFFIC AND TRANSIT ROUTES.

A TRAFFIC FLOW PLAN SHOULD ACCOMMODATE BACKGROUND

TRAFFIC FLOW IN ADDITION TO TRANSIT SERVICE, WHICH WILL BE
PROMOTED AS AN EVENT PATRON TRAVEL ALTERNATIVE.

RECOMMENDED TRAFFIC FLOW ROUTES SHOULD NOT TRAVERSE OR

INTERSECT EMERGENCY ACCESS ROUTES, IF POSSIBLE.

EVENT MANDATED ROAD CLOSURES REFER, IN PARTICULAR, TO

STREET USE EVENT PARADE AND RACE ROUTES. IF NOT ALREADY
DESIGNATED, THE EVENT PLANNING TEAM SHOULD FIRST DETERMINE
THE STREET USE ROUTE.


COLORS AND IT'S PSYCHOLOGICAL

EFFECTS

THE COLOR IS LIGHT, BEAUTY AND HARMONY, BUT ALSO MENTAL

BALANCE, COMFORT AND EXCITEMENT.

COLORS IN ARCHITECTURE ARE NECESSARY TO EMBELLISH, HIGHLIGHT,

ILLUMINATE AND SEPARATE SPACES AND ALSO TO TRANSMIT SENSATIONS
AND COMFORT. THE COLOR OF A BUILDING IS LIKE THE PRESENTATION OF A
PRODUCT AND ACTS AS A STIMULUS CARE TO CREATE A FIRST IMPRESSION,
FAVORABLE OR NEGATIVE. THE INTERIOR COLORS INFLUENCES OUR BODY,
CHARACTER, BEHAVIOR AND MOOD. THE CHOICE OF COLOR IS THEREFORE
BASED ON STATIC FACTORS AND ALSO PSYCHOLOGICAL, CULTURAL AND
SOCIAL FACTORS.

PSYCHOLOGY OF COLOR

COLORS CAUSE PERCEPTIONS THAT WE MUST UNDERSTAND:

THE WHITE SUNLIGHT DECOMPOSES IN COLORS: RED, ORANGE, YELLOW,

GREEN, BLUE AND PURPLE. THESE COLORS ARE DIVIDED INTO PRIMARY OR
FUNDAMENTAL COLORS (YELLOW, RED AND BLUE) AND SECONDARY COLORS
(ORANGE, GREEN AND PURPLE) ARISING AS A MIXTURE OF THE ABOVE
COLORS.

THE COLORS ARE ALSO CLASSIFIED IN WARM COLORS (RED, ORANGE ,

YELLOW) AND COLD COLORS (BLUE, GREEN , PURPLE )

EACH COLOR HAS ON THE PERSON A TRIPLE ACTION:

– IMPRESS, DRAWS ATTENTION .

– CAUSES A REACTION OR EMOTION, AS EACH COLOR IS CAPABLE OF
EXPRESSION.
– BUILDS, BECAUSE EACH COLOR HAS ITS OWN MEANING AND ACQUIRES A
SYMBOLIC VALUE.
WARM COLORS ARE CONSIDERED STIMULANTS, CHEERFUL ANDS EXCITING
AND COLD COLORS ARE CONSIDERED CALM, SEDATIVES AND IN SOME CASES
EVEN DEPRESSING.

LIGHT WARM COLORS SUGGEST FINESSE, FEMININITY, KINDNESS,

HOSPITALITY AND JOY. DARK WARM COLORS SUGGEST:VITALITY, POWER,
WEALTH AND STABILITY.

LIGHT COLD COLORS EXPRESS FRESH, DELICACY, REST, SOLITUDE, HOPE

AND PEACE. DARK COLD COLORS EXPRESS MELANCHOLY, DEPRESSION,
HEAVINESS AND MYSTERY.
YELLOW/AMARILLO: IS SUN, LIGHT, JOY, GOOD MOOD. IT
STIMULATES THE NERVE CENTERS. IT IS THE MOST
INTELLECTUAL COLOR. IT MEANS ENVY AND RAGE. IT
SYMBOLIZES ARROGANCE, POWER AND STRENGTH.

RED/ROJO: IS FIRE, BLOOD, REVOLUTION, PASSION,

VIOLENCE AND ACTION. SUGGESTS HEAT, EXCITEMENT,
MOVEMENT, VITALITY, ALSO CRUELTY AND RAGE. IT
INCREASES MUSCLE TENSION, BREATHING ACTIVATES
AND STIMULATES BLOOD PRESSURE. BEST SUITED FOR
PEOPLE RETRACTED.

BLUE/AZUL: COLOR OF SKY AND WATER. IT IS SERENITY,

PEACE, CALM, INFINITE AND COLDNESS. IT IS
INTELLIGENCE, WISDOM AND TRUTH. IT ACTS AS A
PAINKILLER.

ORANGE/NARANJA: IS ENTHUSIASM, BURNING, EUPHORIA.

IT ACTS TO FACILITATE DIGESTION.

GREEN/VERDE: IS FRESH, NATURE, QUIET, COMFORTING.

IT IS HOPE, SPRING, YOUTH. COLOR THAT FREES THE
SPIRIT AND BALANCES SENSATIONS.

PURPLE/VIOLETA: IS DEPTH, MYSTERY, MYSTICISM,

MELANCHOLY. SEDATIVE ACTION.

PINK/ROSA: IS LOVE, ROMANCE, SOFTNESS, DELICACY.

WHITE/BLANCO: IS PURITY, CANDOR, INNOCENCE. IT
MEANS PEACE.

BLACK/NEGRO: IS THE ABSENCE OF COLOR. IT IS SADNESS

AND GRIEF. SYMBOL OF EVIL. IT SLIMS.

BROWN/MARRÓN: IS EARTH, SIMPLICITY, UTILITY.

GREY/GRIS: (MIXTURE OF BLACK AND WHITE) IS

NEUTRALITY, FUSION OF SADNESS AND JOY,OF THE GOOD
AND BAD.

GOLD/ORO: WEALTH AND OPULENCE

SILVER/PLATA: NOBILITY AND DISTINCTION

 COLOR USAGE

“COLOUR CAN BE USED STRATEGICALLY TO

ORCHESTRATE SPATIAL SEQUENCES OR TO VISUALISE
TECTONICS, IT CAN SUPPORT LIGHT AND SHADOW,
MAKE SURFACES AN OPTICAL AND HAPTIC EXPERIENCE
AND MUCH MORE. COLOUR IS ONE OF THE OLDEST
ARCHITECTURAL DESIGN ELEMENTS – COLOURLESS
ARCHITECTURE DOES NOT EXIST.”

- MRS. STEFFANIE WETTSTEIN

1. RESIDENTIAL

THE ENTIRE FAMILY MUST BE ABLE TO ACCEPT THE COLORS USED IN THE
HOUSE. IF FAMILY MEMBERS HAVE VASTLY DISPARATE TASTES, THEY MAY BE
PLEASED BY CHOOSING THE COLORS FOR THEIR RESPECTIVE ROOMS.

THE PLAN OF LIVING OF A HOUSEHOLD GROUP SHOULD BE STUDIED BEFORE

ANY COLOR SELECTIONS ARE MADE. SOMEONE ENGAGED IN A BUSINESS
WHICH USES A GREAT DEAL OF ENERGY SHOULD HAVE A RETREAT AT HOME-
A ROOM WITH A QUIETLY HARMONIOUS COLOR SCHEME. A PERSON WHOSE
DAY IS SPENT IN A MONOTONOUS BUSINESS, ON THE OTHER HAND, WILL
PROBABLY ENJOY COLOR CONTRASTS AND BRIGHT COLORS AT HOME.

2. COMMERCIAL

THE COMMERCIAL INSTITUTION IS A HOME AWAY FROM HOME FOR MANY

PEOPLE, AND THE INCLINATION TO INTRODUCE SOME OF THE PRINCIPLES
USED IN RESIDENTIAL WORK IS ALWAYS PRESENT. BUT ALL THE COLORS IN
SUCH AN INSTALLATION MUST RELATE TO EACH OTHER AND TO A CENTRAL
SCHEME AND PERSONAL CHOICE WHICH CONFLICTS WITH THE APPEARANCE
OF THE GENERAL SCHEME CANNOT BE TOLERATED.
THERE ARE A NUMBER OF REASONS FOR SUCH COLOR CONTROL, THE MAIN
ONE BEING THAT THERE IS USUALLY A CERTAIN AMOUNT OF CIRCULATION OF
PERSONNEL; AND EVERYONE MAY HAVE DIFFERENT COLOR OPINIONS.

IN MOST CASES THE WALLS OF THE LOBBY OF A COMMERCIAL BUILDING

SHOULD BE STIMULATING AND EXCITING, AND THE CORRIDORS SHOULD BE
NEUTRAL, SO THAT WHEN THE DOORS OF THE OFFICES ARE OPEN, HARMONY
WILL BE APPARENT. INDIVIDUAL OFFICES MAY VARY IN COLOR, TEXTURE AND
MATERIALS, BUT THEY MUST HAVE A BASIC SIMILARITY.

THE MAIN OBJECTIVES IN DETERMINING THE COLOR SCHEME OF A

COMMERCIAL INSTALLATION ARE TO PROVIDE COLORS WHICH ARE RICH,
DEFINITE, AND HARMONIOUS WHICH WILL BE EASY·TO LIVE WITH, AND WHICH
WILL CONTRIBUTE TO THE EFFICIENCY AND WELL-BEING OF ALL WHO
TENNANT THE BUILDING. COLORS SHOULD BE SUBTLE; FOR EXAMPLE, NO
BRASH GREENS OR BLUES SHOULD BE USED UNLESS COMPENSATING
COLORS ARE USED WITH THEM. WHERE OFFICES ARE LOCATED UPON AN
UNINTERESTING INTERIOR COURT, THE COLORS OF SUCH OFFICES SHOULD
BE ''SUNNY" AND BRILLIANT.

3. INDUSTRIAL

THE KIND OF ARTIFICIAL LIGHT MUST BE TAKEN INTO CONSIDERATION IN THE

DESIGN OF INDUSTRIAL INTERIORS. IT WILL DEPEND, TO A LARGE EXTENT,
UPON THE TYPE OF OPERATION PERFORMED. IT IS EQUALLY IMPORTANT
THAT THE PROPER KIND OF LIGHT BE USED TO AVOID SHADOWS AND GLARE.
FOR EASE OF EEING, IT IS GENERALLY WISE TO KEEP THE WALL COLOR
DARKER THAN THE MACHINES OR WORK BENCHES. IF THE SPACE IS SMALL,
THE WALLS CAN BE WARM IN COLOR (YELLOW, ORANGE, ETC.)

HOWEVER, IF INTENSE HEAT IS PRODUCED BY SOME OF THE PROCESSES IN A

SPACE, THE WALL SHOULD BE PAINTED A COOL COLOR, REGARDLESS OF THE
SIZE OF THE SPACE, TO PSYCHOLOGICALLY ASSIST THE WORKERS TO BEAR
THE HEAT.

SIMILARLY IN AREAS THAT ARE EXTREMELY COLD, WARM TONES SHOULD BE

ON THE WALLS. COLUMNS IN NEARLY ALL INDUSTRIAL BUILDINGS SHOULD BE
BRILLIANTLY PAINTED IN YELLOW OR VER-MILLION TO POINT THEM OUT TO
OPERATORS OF TRUCKS, FORKLIFTS, ETC.
4. INSTITUTIONAL

THE INTERIORS OF INSTITUTIONS SUCH AS HOSPITALS, YOUTH DETENTION

CENTERS, CHILD CARE FACILITIES, NURSING HOMES, AND MEL)TAL HEALTH
FACILITIES-ARE CAREFULLY STUDIED IN ORDER TO PROVIDE THE MOST
FAVORABLE ENVIRONMENT FOR PATIENTS, VISITORS AND STAFF. THE AIM
SHOULD BE TO PROVIDE AN ATMOSPHERE THAT IS FRIENDLY AND INVITING.

COLOR AND ILLUMINATION ARE PROBABLY THE MOST IMPORTANT OF THE

VISUAL ELEMENTS. WHILE PASTEL COLORS ARE MOST OFTEN EMPLOYED IN
PATIENT ROOMS, VARIETY CAN BE OBTAINED BY DEEPENING THE TONE OF
THE BED WALL, PAINTING THE WINDOW WALL PLUS AN ADJACENT WALL A
DEEPER TONE, OR PERHAPS USING A CONTRASTING COLOR ON ONE OR TWO
OF THE OTHER WALLS. IF THE ROOM IS AN ODD SHAPE, THE JUDICIOUS USE
OF THE TWO TONES OF COLOR CAN HELP VISUALLY IMPROVE ITS
PROPORTIONS. A DADO OF WOOD OR OTHER MATERIAL IS AN ADDITIONAL
TOOL FOR PROVIDING COLOR VARIATION. THE USE OF PATTERNS TO
PROVIDE VISUAL RELIEF SHOULD BE TAKEN INTO CONSIDERATION IN THE
OVERALL SCHEME OF PATIENT ROOMS AS WELL IN OTHER AREAS.

RECEPTION AREAS, DINING ROOMS, DAY ROOMS, LIBRARIES, AND CHAPELS

CAN PROVIDE PATIENTS, STAFF AND VISITORS WITH WELCOME RELIEF FROM
THE FUNCTIONAL AREAS. COLORS, FURNISHINGS, AND ILLUMINATION CAN. BE
VARIED TO PROVIDE A RELAXING ATMOSPHERE.

5. EDUCATIONAL

VERY YOUNG CHILDREN PREFER STRONG COLORS, BUT WHEN THEY GROW
OLDER, THEIR TASTE BECOMES MORE SOPHISTICATED AND SUBTLE. IN MOST
CONTEMPORARY SCHOOLS ALMOST ANYTHING THAT CAN BE COLORED IS
TREATED IN A BRIGHT AND BRILLIANT WAY. CORRIDOR WALLS, FOR
INSTANCE, ARE SOMETIMES YELLOW ; ROOMS FACING COOL NORTH LIGHT
ARE GIVEN WARM TONES, AND THOSE FACING WARM SOUTH LIGHT ARE
GIVEN COOL TONES. THE FRONT WALL OF EACH CLASSROOM IS OFTEN
PAINTED DARKER THAN THE OTHER WALLS OF THE ROOM. EVERY EFFORT
SHOULD BE MADE TO SELECT A COLOR THAT WILL BE OF APPROXIMATELY
THE SAME VALUE AS THE COLOR OF THE CHALKBOARD SO AS TO MINIMIZE
EYE FATIGUE.
IF COLORS ARE PASTELS. BRIGHT ACCENTS ARE EMPLOYED FOR FURNITURE
AND ACCESSORIES- SAY BRIGHT BLUE, YELLOW, CHINESE RED, OR BLUE
GREEN. DOORS AND TRIM ARE USUALLY DARKER THAN THE WALLS IN WHICH.
THEY ARE LOCATED, AND PAINTED DOORS CAN BE GIVEN VARIATION AND
ADDITIONAL INTEREST BY THE USE OF VARIOUS COLORS.

HOWEVER, WHILE A STIMULATING ATMOSPHERE IS DESIRABLE IN A TEACHING

SITUATION, CARE SHOULD BE EXERCISED TO PREVENT OVERSTIMULATION,
WHICH MAY PRODUCE RESTLESSNESS, TENSION AND FATIGUE.
SAFETY COLOR GUIDES

COLOR MEANING APPLICATION

DANGER SAFETY CANS AND SIGNS.

EMERGENCY STOP BAR

RED
OR BUTTON ON
MACHINERY.
STOP

IDENTIFICATION OF FIRE
EQUIPMENT.

RLABELS AND
CONTAINERS FOR BLOOD
AND INFECTIOUS WASTE.
RFLUORESCENT BIOSAFETY
ORANGE,
(WARNING LABELS MUST
ORANGE-RED
BE FLUORESCENT
ORANGE OR ORANGE-
RED WITH THE
BIOSAFETY SYMBOL IN A
CONTRASTING COLOR.)

TRIPPING, FALLING AND

STRIKING HAZARDS.
“FLAMMABLE, KEEP FIRE
AWAY” LABELS ON
YELLOW CAUTION CABINETS. SAFETY CANS
AND CONTAINERS FOR
EXPLOSIVES,

CORROSIVES OR
UNSTABLE MATERIALS.

MAGENTA
X-RAY, ALPHA, BETA,
OR PURPLE RADIATION
GAMMA, NEUTRON AND
ON YELLOW CAUTION
PROTON RADIATION.
 COLOR MEANING APPLICATION

PARTS OF MACHINERY
OR ENERGIZED
EQUIPMENT THAT MAY
ORANGE WARNING CUT, CRUSH OR
OTHERWISE INJURE.
INSIDE OF TRANSMISSION
GUARDS FOR PULLEYS,
GEARS, ETC.

LOCATION OF FIRST AID

GREEN EQUIPMENT. LOCATION
SAFETY OF SAFETY EQUIPMENT,
RESPIRATORS, SAFETY
SHOWERS, ETC.

SIGNS AND BULLETIN

BOARDS. SPECIFIC
BLUE
INFORMATION RAILROAD WARNINGS
AGAINST STARTING,
USING OR MOVING
EQUIPMENT BEING
REPAIRED.

BLACK, WHITE, TRAFFIC OR

YELLOW OR HOUSEKEEPING
COMBINATION MARKINGS.
BOUNDARIES
OF BLACK STAIRWAYS,
WITH WHITE DIRECTIONS AND
OR YELLOW BORDERS.
 COLOR AS AN EXPRESSION
ELEMENT OF DESIGN

COLOR IS OFTEN DEEMED TO BE AN IMPORTANT ELEMENT

OF DESIGN AS IT IS A UNIVERSAL LANGUAGE WHICH PRESENTS
THE COUNTLESS POSSIBILITIES OF VISUAL COMMUNICATION.
HUE, SATURATION, AND BRIGHTNESS ARE THE THREE
CHARACTERISTICS THAT DESCRIBE COLOR. HUE CAN SIMPLY BE
REFERRED TO AS "COLOR" AS IN RED, YELLOW, OR GREEN.
COLORS GIVE MEANING TO DESIGN. THEY SPUR EMOTIONS AND
EXPRESS VALUES. THERE ARE A FEW THINGS TO KEEP IN MIND
WHEN DEVELOPING A COLOR STRATEGY, PSYCHOLOGY,
CULTURE, TRENDS, AND ABOVE ALL THE CONTEXT. COLOR IS
USED TO ATTRACT ATTENTION, GROUP RELATED ELEMENTS,
CONVEY MEANING, AND GENERALLY ENHANCE THE AESTHETICS
OF YOUR SITE. IT CAN BE USED TO ORGANIZE YOUR ELEMENTS
AND CREATE A VISUAL HIERARCHY IN YOUR DESIGN. A SMALL
DOSE OF COLOR THAT CONTRASTS WITH YOUR MAIN COLOR WILL
DRAW ATTENTION. IT WILL GIVE EMPHASIS.

IN ART AND DESIGN, COLOR ALLOWS US TO CREATE OUR

OWN INDIVIDUALITY AND FLARE. FOR YEARS, INTERIOR
DECORATORS, GRAPHIC DESIGNERS, ADVERTISERS AND ARTISTS
HAVE BEEN USING COLOR TO ENHANCE OUR ENVIRONMENTS.
COLOR CAN BE USED TO EVOKE A CERTAIN MOOD OR TO CREATE
A MESSAGE OR SHARP RESPONSE IN THE VIEWER. SOMETIMES
THE COLOR YOU HAVE CHOSEN TO USE IN THE DESIGN PROJECT
IS AS MEANINGFUL AND IMPORTANT AS A FONT OR IMAGE. NOT
ONLY IS IT THE MAIN ATTENTION GRABBER, IT IS ALSO PROVEN TO
HAVE A PSYCHOLOGICAL EFFECT ON CONSUMERS. IT TRIGGERS
THEIR IMAGINATION AND CREATES VARIOUS ASSOCIATIONS. THE
BIGGEST POWER BEHIND COLOR IS THEIR ABILITY TO EVOKE
EMOTIONS AND MAKE PEOPLE FEEL THINGS, BUT THE COLOR
MEANING IN GRAPHIC DESIGN CAN SEEM CONFUSING AT FIRST AS
COLORS OFTEN HAVE DIFFERENT INTERPRETATIONS. LET'S TAKE
A LOOK AT NOT ONLY WHAT EMOTIONS THEY EVOKE BUT ALSO
THEIR SYMBOLISM.