Module 6

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CATION ALL RIGHTS RESERVED

INDEX
PAGE
COLOUR 4
HOW DESIGN ELEMENTS INTERRELATE 15
GUIDELINES FOR USING COLOUR 26
COLOUR AND LIGHT 29
COLOUR PSYCHOLOGY & SYMBOLISM 35
THE EMOTIONAL EFFECT OF COLOURS 35
COLOUR SYMBOLISM 38
COLOUR MIXING SYSTEMS 41
THE HUMAN EYE 41
ADDITIVE COLOUR MIXING 42
SUBTRACTIVE COLOUR MIXING 43
THE COLOUR WHEEL 43
PRIMARY COLOURS 44
SECONDARY COLOURS 45
TERTIARY COLOURS 45
PROPERTIES OF COLOUR 47
HUE 47
VALUE 47
TINT 49
SHADE 49
TONE 49
CHROMA 50
COLOUR TEMPERATURE 53
COLOUR UNDERTONE 56
COLOUR HARMONY GROUPS 59
CREATING SUCCESSFUL COLOUR SCHEMES 72
COLOUR AND PERCEPTION 82
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VERSION 1:8 - APR 2024 – COPYRIGHT © ONLINE EDUCATION ALL RIGHTS RESERVED
SIMULTANEOUS CONTRAST 82
COLOUR INTERACTIONS 82
PLANNING A COLOUR SCHEME 85
FLOORING 87
COMMUNICATING ABOUT COLOUR 91
HOW TO SPECIFY COLOUR ACCURATELY 94
SAMPLING THE COLOURS 95
EXTERIOR COLOUR 97
TYPES OF PAINT SHEENS 100
WALLPAPER 102
SPECIALTY PAINT FINISHES 104
PAINTERS 107
COLOURS ON COMPUTERS 108
INTERIOR PAINT COLOUR VIEWERS AND VISUALISERS 109
TREND FORECASTING 110
STAY INSPIRED 111
ASSIGNMENT SIX 112
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COLOUR
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COLOUR
Some people just seem to have a flair for colour. They understand intuitively how to put
colours together in pleasing arrangements.
Other people seem to have no idea and can’t even match their socks. Of course, some
people are actually colour blind. Yet everyone responds to colour.
In fact, there are psychological tests using colour cards with which the emotional state even
of colour blind people can be detected just by noting the intensity of the colours on the
various cards.
Colour is essential, seductive and pervasive.
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You can learn to see colour in a new way even if you have always lacked the confidence
to use it freely. For that reason, even though you might already use colour with ease and
delight, this may well be the module you’ve been waiting for.
Images via @resenecolour
There are so many beautiful paint colours, finishes and fabric colours in the world.
When looking at colour, try to forget what you think ought to be right.
If it looks beautiful, that is the whole point. Don’t worry too much about what it means.
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Learn to recognise beauty. This will take you a long way to being a fantastic colourist.
In this module, you will learn about the technical and physical properties of colour. Some of
them defy logic. It is really important to understand that colour is primarily a visual issue.
At some point when you observe colour, stop thinking. Trust your eyes. Still, you will need
experience to be fearless. You will also need to use disciplined, logical techniques for sampling
and testing.
Even the most experienced designers have careful ways of observing colour before it is
painted or upholstered to a large expanse. There is also an inescapable emotional aspect to
colour. This is something you can use artfully as part of a total design.
Images via @pointsupreme
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How a space feels transcends how it looks.
Colour can be the key to entirely changing the mood in a space.
Images via @archdigest
The aesthetics of colour are a magnetic topic.
What is your favourite colour?
What is in fashion?
What colours create certain moods?
What colours work in certain climates and at various times of the year?
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First, there are neutrals and whites.
Then there are bright colours.
Then dark colours become important.
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It is necessary to know what is stylish if that’s what you’re selling as a designer. On the
other hand, it is important not to get too hung up on this issue.
To have a real practical command of colour, you need to have your own opinions. You also
need the skills to know when to use colour and when not to. Also, you need to know why
you are using colour and why you are making the choices you make.
Colour isn’t just frivolous, although you should try never to lose a sense of delight and
fun. There are practical and logical reasons to make selections that must underpin your
professional design choices. This is true even if the end result looks like fun.
In fact, as with most things, the best design is when you make it look easy. To
achieve this, you must have mastered the technical properties of colour and also the technical
steps one applies before the final specification of colour.
If you want to be an average designer, all you need to do is look around you and find the
colourful products that appeal to you and to your clients.
If you work your way through them with small samples and caution, you can get the feel of
what works with what and how to avoid a big disaster. Or you can stick to neutrals, whites
and black for contrast.
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Many architects have done this for their entire career.
They claim it is the shape and structure they wish to highlight, not something frivolous or
superficial like colour.
However, this is a very inaccurate position to take and reflects a deep lack of understanding
of physics and the nature of the world around us.
Colour is far from superficial. Every time you see anything, you see it in colour.
As a designer, colour can be used to highlight or obscure structure, depending on what you
are looking to achieve. Colour can emphasise shape.
Colour is the most powerful tool you have as a designer.
Some interior designers may take the opposite position from many architects, and believe
that all you need is colour.
Images via @ohjoy
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This is closer to the truth but still not entirely accurate.
Whether you choose to use it boldly or subtly, colour is the single most powerful element in
interior design.
In order to be a really great designer, you need to know everything there is to know about
the properties of colour.
Not only do you need to feel completely comfortable with its physical properties, you
also need a deep understanding and continually observe its psychological and culturally
connotative properties.
To be in control of what you say and do with colour, you not only need to know how to use
it but also how to create it, how to communicate about it, and how and when to apply it to
various situations.
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You need to understand how to respect this most powerful device in conjunction with all of
the other elements and principles of design.
Colour is an unavoidable fact of reality even if you want to work only in neutrals. This is
even true if you want to use only white. White has tints of other colours, and white reflects
other colours.
Working out the perfect white room requires an understanding of the properties of colour
on a subtle and expert level. The eye always needs to see colour to differentiate objects.
If you have ever been in a whiteout on a mountain, you will understand how fundamental
colour is even in a snowy landscape.
Colour is such an important element in interior design; it can make or break and almost
completely override all of the other aspects of design. In fact, all of the same rules of design
that apply individually also apply to the use of colour.
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ACTIVITY: How do these images make you feel?
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HOW DESIGN
ELEMENTS
INTERRELATE
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HOW DESIGN ELEMENTS INTERRELATE
SPACE
You can create or diminish a sense of space with colour. As we study the physical properties
of colour in this module, you will learn that dark, warm or bright colours tend to advance,
and lighter, cooler or dimmer colours tend to recede. With that in mind, you can open a
space by painting a back wall or a ceiling in a lighter or soft colour.
You can make a space more intimate and bring walls forward using bright or dark colours.
As shown in the examples below, the dark walls make the room feel smaller and more
intimate.
You can break a space up by mixing colours that have different properties. This is when your
planning must be specific.
Always look at colour relative to elevations and perspective drawings, and start with a
complete colour plan for every surface in your drawings. Carefully consider colour samples
if you are planning to mix colours on different planes with the goal of making them advance
and recede.
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STRUCTURE
Colour can highlight or obscure structure depending on your design requirements.
This relates closely to the way colour is used to create and emphasise space. You can make
a structure almost vanish. If you have pipes and ducts to hide in a ceiling, for example, you
can paint the entire shell of the space in the same dark colour.
But be careful of the way it will also enclose the space. You may want to only treat a ceiling
in this way, but again watch out for how it will impact on ceiling height.
On the other hand, you may want to highlight beautiful beams or other ceiling details or
some lovely room proportion but highlighting them with subtle or strong colour, changes the
mood and balance in other ways.
How to do this most effectively will be discussed in this module.
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BALANCE
The use of colour is an opportunity to create balance in a space and has its own inherent
rules.
When using colour, you need to find your own sense of compositional balance.
It usually doesn’t mean matching things exactly or finding a 50/50 balance between dark
and light.
There are subtle tonal patterns you can create, almost like a musical composition, after you
start to become at ease with the physical properties of colours and how to understand their
variations.
By observing how to use colours and find combinations that you find pleasing, you will
achieve balance in the colour scheme and also balance for the entire space including all of
its other elements.
Remember, the walls don’t always have to be white. The furniture doesn’t have to be
brown. You can have blue walls, white furniture and hot pink upholstery.
There are endless ways to play with the balance when you are achieving a desired end
result.
As you learn more about the physics of colour and practice a disciplined way of checking
paint, fabric and finish samples all together before proceeding, you will learn how to avoid
expensive mistakes and end up with incredibly pleasing and balanced designs.
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PROPORTION
The proportion with which you apply colour can create a sense of drama, surprise, elegance
or serenity.
Again, there is a dual aspect to applying the concept of proportion to colour. How much of
any one colour to use is a question of proportion all of its own.
Also, the correct use of colour can correct or create a sense of proportion regarding the
objects and structure in the space.
Small objects can be made to appear larger, and large objects can be diminished.
Simultaneously, you need to think about how much colour is used in relation to other colours
in an overall scheme. For example, towering bookcases can be used in a room with delicate
furniture.
The bookcases can be the same green colour as the walls. The delicate chairs can be yellow-
orange. The main chair can be highlighted with a rose-red cushion. This is a space where
the smaller furniture is given expansive colour.
The walls are made peaceful and strong at the same time. The big bookcase blends in and
the rose cushion is the focal point of the whole room, creating a sense of surprise.
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SHAPE
Shapes can be highlighted or hidden with the correct use of colour.
This is similar to what we have just discussed.
Using colours that recede, advance or that blend, can make shapes diminish or highlight
them in a space. You can make ugly kitchens less important, for example, while emphasising
a beautiful sofa or painting.
This is important when styling properties for sale or properties that are not undergoing
renovation. Often you have to work with the existing fixtures. This is a very important
technique in such situations.
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PATTERN
Pattern can be emphasised or created with colour alone.
Small windows going across a wall can be highlighted with contrasting colour, turning a
blank wall into an interesting pattern.
You can use colour on the adjoining floor surfaces to create a sense of pattern and interest.
Alternating stairway risers on a stairway can create a point of interest when a horizontal
stripe pattern on the riser is complemented by a carpet runner or other textile accessory.
The success of pattern in any scheme depends on the balance and proportions as well as the
actual patterns themselves.
Using pattern requires as much skill as selecting and combining textures, as too many
patterns or the wrong kind can create a disorganised or busy look.
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TEXTURE
Texture is simply the surface quality of a material. It could be smooth, rough, bumpy or flat.
When we look at a surface, our perception of that surface is influenced by the texture of the
adjacent surface. For example, rough surfaces seem more textured next to smooth surfaces.
The lighting applied to a surface can also influence the texture. Smooth textured surfaces
reflect light and rough textured surfaces tend to absorb it.
The planning of lighting is always important but especially when using texture as too bright
a direct light will flatten out texture and cast little shadow, losing the surface definition. A
more indirect lighting scheme will emphasise even subtle textures, and is far more effective.
It is important to balance colour with texture and pattern to provide a harmonious

environment. Combining rough and smooth textures and using these to contrast with each
other creates balance.
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REPETITION AND RHYTHM
Rhythm allows your eyes to move around from one object to another. It creates a harmonious
atmosphere in a room.
Rhythm is created through repetition of line, form, texture and colour. It can also be created
by a progression, which is simply a gradual increasing or decreasing in size, direction or
colour.
In the above examples, the featured wallpaper pattern and the rug create a repetition
rhythm. When looking at these pictures, your eyes naturally glide from one area to the next,
creating a natural flow and visual interest while still accomplishing a sense of harmony in
the space.
You can introduce nearly any colour that delights your eye so long as you find a way to
repeat it. Colour placement can be the element that creates rhythm in a simple or complex
space. Colour, on its own or in conjunction with pattern, shape, texture or structure, can
create the repetition or highlight a repeated element.
“When decorating an entire house, think of it as a totality, a series

of spaces linked together. Because rooms are physically connected
by halls and stairways, they should display common themes and
styles. This is not to say they should all be the same, but they should
work together and complement each other to strengthen the whole
composition.”
- Tricia Guild
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HARMONY
Colour is the easiest way to create harmony across a design because we see colour first and
form second. It has the power to unite a design like no other element. All of the independent
elements of design directly (and sometimes indirectly) interact when considering and using
colour.
The way colour affects mood and the proportion of its use can be a major contributor to the
total harmony of a space. Even if you are choosing bold colours, the overall harmony of a
space should be your ultimate goal. Whether a space is stimulating or restful, it needs to
feel good.
Knowing which colours sit happily together and which add to a sense of harmony is part of
working with the physical properties of colour that we are about to discuss. In this module,
we look to demystify the colour selection process and show you the simplest ways to achieve
colour harmony by selecting colours that share a commonality with a similar undertone,
chroma and colour temperature.
A colour can look bright when next to a duller colour, and it may itself look dull when next
to a colour which is brighter again.
The way colours interact and layer in a design setting is crucial to the successful use of
colour. Really using colour to its full potential is far more than matching the cushions with the
curtains. There are no bad colours, only bad combinations, and there are also meaningless
combinations.
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Understanding how colours affect each other and, therefore, how they can impact your
entire design, will affect the choices you make about the use of colour.
To find the perfect choice for a colour scheme, you may be called upon to look further for
just the right colour strategy, whether it is fabric and surface finish or paint.
In fact, if you get to the point of real understanding and confidence when dealing with the
properties of colour, you may easily adjust or mix your own paint colours to best resolve any
number of design issues.
The mastery of colour allows for a broader range of design choices and exciting aesthetic
freedom.
As with all of the other elements and principles of design, while the aesthetic and qualitative
considerations beckon, you must first understand the technical characteristics of colour to
ensure the excellence of your design work.
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GUIDELINES
FOR USING
COLOUR
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GUIDELINES FOR USING COLOUR
APPLYING THE DESIGN ELEMENTS TO YOUR COLOUR SELECTION
As you understand more about colour and establish a routine for coordinating paint, fabric
and finish samples, you will end up with pleasing and balanced designs and avoid expensive
mistakes.
If we look around our outdoor environment, we see balance and harmony occurring naturally.
For example, the darkest value of the forest floor at ground level, tree trunks with a medium
colour value at eye level and the sky or lightest colour value above us.
Using darker colours below lighter colours as seen in nature is a useful guideline when
developing a colour scheme. It avoids a ‘top-heavy’ or unbalanced effect when two different
colours are used, for example, above and below a dado rail.
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Examples of interiors that go from dark to light, making the space feel balanced:
Examples of interiors that go from light to dark, making the space feel unbalanced and
heavy:
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COLOUR AND
LIGHT
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COLOUR AND LIGHT
In your journey to learn how colour affects and interacts with all of the other elements and
principles of design, the most fundamental and important relationship that comes into play
is the interaction of light and colour.
Colour itself is expressed in two ways that are perceivable by the human eye.
One way is when colour is transmitted by a pigment. This is how most people assume colour
is always transmitted visually.
Pigment implies opacity like paint or any solid surface. However, how the eye perceives
colour is actually an effect of how a given surface reflects light.
As we have learned in Module 5, without light, colour does not exist.
The most essential way colour is transmitted is directly through light. When you see a rainbow,
you are able to see the entire visible colour spectrum refracted by the rain. Wherever there
is light, at least parts of the colours in the visible spectrum are also present.
However, the colours in the light spectrum can only be made visible under certain
circumstances. As a property of light, colour varies in direct relationship to wavelength.
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Red has the longest visible wavelength at 740nm.
After red is orange, then yellow, green, blue, indigo and finally, violet.
Violet is the shortest visible wavelength at 380nm.
When the full visible spectrum of light is present in approximately equal quantities in a light
source, it is perceived as white light.
In white light, an opaque object will selectively absorb some of the colour spectrum.
The surface of the object will also reflect some of the colour spectrum. The colour your eyes
will perceive will be the part of the colour spectrum that is reflected by the opaque object.
Artificial lighting makes a huge impact on the colours used in a room because the colour of
the light will intensify the colour of surfaces that are the same and dull the colours that are
not.
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An example of this is the blue, red and yellow colour cubes shown here in white light.
If we change the colour of the light to blue:
■ The colour of the blue cube is intensified.
■ The yellow cube appears green; the blue light is mixing with the yellow cube to
make green.
■ The red cube now appears grey because the light source does not contain
any red in it, therefore it cannot reflect red light off the surface.
If we change the colour of the light to yellow:
■ The colour of the yellow cube is intensified.
■ The colour of the red cube is more orange because the yellow light has now
mixed with the red surface to make red-orange.
■ The blue cube now appears grey because the light source does not contain
any blue in it, therefore it cannot reflect blue light off the surface.
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The colour of light in a space needs to be taken into consideration as the basis of a strategy
for colour use in that space. A lack of certain colours in a light spectrum will make the
surface of an object illuminated by that light also appear to lack those colours.
The remaining colours in the spectrum are the ones that will be reflected back to your eye.
If the object is large enough in an enclosed space, the reflected colour will mix with the rays
of light in the rooms and potentially affect which light colours you will see.
Therefore, bluish or greenish colours will make a shady room seem shadier.
Red, yellow or orange colours will balance the shady, cool light.
Likewise, a glary, bright, sunny, overly warm room may look balanced and cool with blue,
violet or green colours used on the walls and furniture.
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Colour will also be affected by the orientation of the room and the amount of natural light
it receives. No two surfaces can be identical in colour because surface receives and reflects
daylight differently.
The amount and intensity of daylight normally falls on interior surfaces in the following order
(most amount of light to the least amount):
1. Floor
2. Wall facing the window
3. The walls perpendicular to the one with the window
4. Ceiling
5. The wall that the window is in with its back to the light
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COLOUR
PSYCHOLOGY
& SYMBOLISM
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COLOUR PSYCHOLOGY & SYMBOLISM
THE EMOTIONAL EFFECT OF COLOURS
Colour is a way in which people express their creativity.
Colours we choose to have around us say a lot about the way we feel and want to feel.
They can animate or depress, stimulate or tranquilise, unify or divide, make larger or smaller,
invite conversation or disagreement and provoke interest or confusion.
Hospital rooms, classrooms, fast food restaurants and offices are painted in colours to
influence the behaviour and mood of the people who use these spaces.
Red is an appetite stimulator and an eye-catching colour, which is why many fast food
restaurants use the colour red.
Even the products on the shelves of your local supermarket have been packaged in colours
carefully chosen to attract your attention and encourage you to buy. We are surrounded by
colour references such as “a red rag to a bull”, “blue with cold”, “green with envy” and “in
the red”.
Giving meaning to colour is a tradition that is as old as humanity.
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For example, purple in the Roman Empire, blue in eighteenth-century Europe and yellow in
Imperial China are colour variants attributed to royalty in different eras and cultures.
Why are people so hesitant to use colour in their home environments?
Why is the neutral space currently the ideal?
Why are we afraid of colour?
The first step in relinquishing fear in the use of colour is to understand the physiological
effects it has on us.
As mentioned earlier, red is known to stimulate the appetite, so it is an excellent colour for
dining rooms. Both blue and green are fresh and calming. They are the colours of nature
and can be a popular choice for bedrooms.
Yellow and orange are energising like the sun, so are good choices in rooms where your
energy may need boosting. The following page lists the different effects on each colour.
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Red: Symbolises happiness and contentment, emotion and passion. Reddish tones generate
a sensation of heat and tend to visually advance towards you. As red softens towards pink,
it seems more relaxed, friendly and feminine. Red also encourages your appetite, which is
why many restaurants and fast food outlets use red in their signage, ads and stores.
Orange: A warm colour closely associated with autumn and the earth. Stimulating, spiritually
optimistic and generates energy and happiness. Psychologically, it is animated, expansive,
rich and extroverted. Oriented towards food and so often used in kitchens.
Yellow: Traditionally associated with intelligence. Colour of Spring, the sun, light, intensity
and happiness and stimulates and animates. In its purest form, radiates heat and inspiration.
Frequently used in children’s rooms. In China, it has always been a favourable colour.
Green: Colour of life and the silent power of nature. Has relaxing effect and qualities of
stability, security and emotional balance. Associated both with envy and with love because
it is the colour of Venus.
Blue: Colour of the spirit, the sky and water. Blue related to characteristics of nobility.
Classified as a cool colour; can signify melancholy or sadness. Recommended for bedrooms
or places of rest.
Violet: Absorbs the passion of red and the spirituality of blue (secondary colour). Provokes
both desire and aversion. Related to intimacy and sublimation and indicates profound
sentiments.
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COLOUR SYMBOLISM
Colours can have different meanings in different cultures, and a person’s religious beliefs
and cultural background will have a strong influence on colour preference. Colour symbolism
refers to the use of colour as a symbol in various cultures.
For example:
■ In western culture, white is a symbol of luxury, marriage, purity and heaven.
■ By comparison, in China, white is a symbol of mourning and death, and red is the
traditional colour used for wedding.
The diagram below explains the importance of colours in different cultures. Regions are
separated into rows, starting from the centre of the circle working outwards and are listed
as:
■ (J) South American
■ (I) African
■ (H) Muslim
■ (G) Eastern European
■ (F) Asian
■ (E) Chinese
■ (D) Native American
■ (C) Hindu
■ (B) Japanese
■ (A) Western / American
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The circle is divided into 84 sections based on emotions, events and feelings, and the
important colours from each culture have been placed in the appropriate section(s).
Click this link to view the full-size chart.
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COLOUR MIXING
SYSTEMS
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COLOUR MIXING SYSTEMS
THE HUMAN EYE
The human eye contains a retina, which contains cones and rods that enable us to see light
and colour.
The function of the cones

■ The cones allow us to see colour.
The function of the rods

■ The rods distinguish between light and dark and texture and shape.
■ When we squint our eyes, we are shutting down our cones so we can use the rods
to show only light and dark.
■ Colour is absent in dim light.
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ADDITIVE COLOUR MIXING
Colour vision depends on the interaction of three types of cones—one especially sensitive to
red light, another to green light and a third to blue light.
Red, Green and Blue (RGB) are known as the light primaries or the additive primary colours.
The total combination of red, green and blue lights gives a total effect of white and this is
called additive.
The combination of two of the standard three additive primary colours in equal proportions
produces an additive secondary colour—cyan, magenta or yellow.
These are the standard primary colours in subtractive colour systems used for pigments,
inks, paints and dyes.
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SUBTRACTIVE COLOUR MIXING
Colours are created by subtracting (absorbing) parts of the spectrum of light present in
ordinary white light.
Because of the “taking away” of colour to make white, this is called subtractive mixing.
The total combination of red, yellow and blue pigments should give a total effect of black.
THE COLOUR WHEEL
As interior designers, we use the Pigment Colour Wheel based on the Subtractive Colour
Mixing System to identify and mix colours for paint, fabric, materials and finishes.
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The twelve hue colour wheel is a way of representing the pure colours of the spectrum with
the colours at each end joined to make a circle.
It is a useful guide for planning colour schemes and understanding the effect colours have
on each other.
The colour wheel consists of:
PRIMARY COLOURS
Red, blue and yellow are the primary pigment colours from which all other colours are
mixed.
Primary colours cannot be mixed from other colours.
They are the building blocks from which other colours are created.
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SECONDARY COLOURS
Green, orange and violet are made by mixing equal measures of two primary colours.
Green = blue + yellow

Orange = yellow + red
Violet = blue + red
TERTIARY COLOURS
Tertiary colours are made by mixing equal measures of one primary and one secondary
colour. They are red-orange, yellow-orange, yellow-green, blue-green, blue-violet and red-
violet.
An easy way to remember these names is to place the primary name before the other
colour. The tertiary colour produced when mixing the primary colour blue with the secondary
colour green is called ‘blue-green’.
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PROPERTIES OF
COLOUR
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PROPERTIES OF COLOUR
Colour is described using the following terms:
HUE
Hue is another name for a pure colour; a primary, secondary or tertiary colour, which has
not been mixed with black or white.
Hue is the traditional colour ‘name’, such as red, which represents a specific wavelength
of visible light. The hues in the spectrum are traditionally listed as red, orange, yellow,
green, blue, indigo and violet. ROYGBIV is a common mnemonic for remembering the order
of coloured light in the spectrum. Black, white and the greys produced from them are not
usually considered to be hues.
VALUE
The value of a colour is how much dark or light it reflects in relation to black and white.
This is often expressed in degrees of 1 to 10, 10 being white and 1 being black. This indicates
the degree of lightness or darkness of a colour. White has an RV of 100% because it reflects
all light; black has an RV of 0% because it absorbs all light. All colours have an essential
lightness or darkness. This is the aspect of colour, which is expressed by the term value.
To identify the value of a colour, hold the colour up to a value scale, and squint your eyes to
shut down the cones and activate the rods in your retina. By doing this, the colour should
start to merge into the grey on the corresponding value scale to identify the value of the
colour.
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EXERCISE
In this example, a range of colours have been held up to a Value Finder to identify the value
of the colours.
Try squinting your eyes to shut down the cones. Can you see the colours merge into the
grey on the Value Finder?
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TINT
A tint is made by adding white to a pure colour. The new colour is lighter, has a higher
Reflective Value than the original hue and is used to create pastel colours.
SHADE
A shade is made by adding black to a pure colour.
The new colour is darker and has a lower Reflective Value than the original hue.
TONE
A tone is made by adding grey to a pure colour or some of its complement, resulting in a
softer variation of the original colour.
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CHROMA
Intensity refers to the purity of a hue or the brightness and dullness of a colour. Intensity is
also known as saturation and is often described in term of how pure, dirty or grey a colour
is.
The highest intensity or purity of a hue is the hue as it appears in the spectrum or on the
colour wheel. If you look at your colour wheel, the intensity of the colours sitting on the
outer ring are at full chroma, and if the colour is mixed with any other colour, the amount
of chroma (intensity of colour) reduces.
The outer ring shows colours (hues) at their

maximum intensity (chroma).
The inner rings shows the hue at a lower

chroma because it has been mixed with white,
grey or black paint.
Rarely as interior designers would we use a colour at its maximum intensity in large
proportions. More often, a lower intensity version of it would be used for the walls and the
higher intensity version used in small proportions for accessories.
Adding white, black or grey to any colour will alter the intensity and value of it. A colour
scheme with a pleasing relationship of hue, intensity and value will always be harmonious.
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Later in this module, you will learn about colour harmony groups. One of these groups is
called Complementary, and it is a very special relationship group that has an important
impact on our understanding of colour theory.
Complementary colours are any 2 colours

that sit opposite each other on the colour
wheel.
One of the special relationships they have is the ability of one colour, (i.e., red) to alter the
chroma of its complement (i.e., green) by neutralising each other when mixed.
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This is demonstrated in this painted example:
From the left

■ The first square is pure red paint.
■ To this red, a touch of green paint has been added.
■ This is continued until it becomes “grey”.
From the right

■ The first square is pure green paint.
■ To this green, a touch of red paint has been added.
■ This is continued until it becomes “grey”.
The “grey” that has been created is called a “chromatic grey” because it has been made
using colour only.
Alternatively, if we were to mix black and white to make grey, it is called “achromatic grey”
because of the lack of colour.
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COLOUR TEMPERATURE
All colours can be defined as warm or cool colours, and the two groupings appear together
on the colour wheel.
Warm Colours
Reds, Yellow and Orange.
Cool Colours
Blue, Green and Violet.
Regardless of the colour group that a colour falls into, each colour can be a warm or cool
variation of it, and when discussing a colour, you might say that it is a cool red or warm blue.
The easiest way to define a colour’s temperature is to hold the colour up to your colour
wheel and look at the undertone of the colour:
■ If the colour has more blue (green or violet), it is a cool colour.
■ If the colour has more red (yellow or orange), it is a warm colour.
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Here are some examples of colour temperature variation within a hue:
COOL COLOUR WARM COLOUR
TEMPERATURE TEMPERATURE
RED
PINK
BLUE
GREEN
BROWN
GREY
VIOLET
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Warm colours advance, making objects appear bigger.
Cool colours recede, making objects appear smaller.
As an interior designer, you will be able to use your knowledge of colour theory to visually
alter a room’s or object’s shape size and shape by selecting colours with these characterises.
To make a room feel bigger or an object look smaller, use:
■ Colours with lighter value
■ Lower chroma colour
■ Cool colour temperatures
To make a room feel smaller and cosier or an object look larger, use:
■ Colours that are darker
■ Higher chroma colours
■ Warm colour temperatures
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COLOUR UNDERTONE
Why do some colour schemes work but others do not? Most likely, the reason for this is
choosing colours with conflicting undertones. Except for the three primary colours, all other
colours are made by mixing two or more colours together.
The result of this mixing in colour definition terms are:
■ Mass tone – this is the primary colour that is immediately apparent (i.e., blue).
■ Undertone – this is the additional colour that is apparent due to the additional
colours that have been mixed in or the effect of the additional colours.
Example: The mass tone of this colour is blue but with differing undertones.
Blue
Blue with green undertone – Made by mixing yellow with blue.
Blue with violet undertone – Made by mixing red with blue.
Blue with grey undertone – Made by either mixing with black and white
with blue or with its complementary colour orange.
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HOW TO IDENTIFY THE UNDERTONE OF A COLOUR
For some colours, the mass tone and undertone are similar, but for others, they are very
different.
If you are having trouble identifying the undertone, there are a few tricks available to the
interior designer to make the process easier:
1. Colours react differently when placed next to another colour. The first step is to hold
the paint colour up to your colour wheel, and keep moving it around the different hues until
you find the most similarity.
2. Compare it to the purest hue of the colour. For example: If it is a blue hue, then hold
it up to the blue on your colour wheel. By doing this, you are looking for the difference
between the paint colour and the pure hue.
3. There is a phenomenon called simultaneous contrast that is covered in more depth

later in the module, and the theory is based on how a colour’s complement intensifies
the other. To test if you have identified the undertone correctly, locate the undertone’s
complementary colour on the colour wheel, hold up the paint sample to it and see if becomes
more apparent. For example: If you have a blue with red undertone, hold the paint sample
up to a green colour (complement of red) and this should amplify the red undertone.
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COLOUR
HARMONY
GROUPS
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COLOUR HARMONY GROUPS
As in music, where you can experience consonant and dissonant chords, colours can intensify
or create tension with each other, depending on the characteristics we’ve explored so far.
Colour harmony groups are a great place to start a colour scheme and knowledge of them
are an invaluable asset to the interior designer.
The following describes a number of techniques available to create colour harmonies and
tips on how to use the techniques to create a successful colour scheme.
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ACHROMATIC
Literally meaning without colour, these colour harmonies present little to no colour saturation;
therefore, they utilise white, grey and black.
Cool greys are crisp and clean. Warm greys tend to have a hint of brown or beige.
When used for an entire colour, they can become bland, and adding tonal contrast, pattern
or textural finishes will add further interest.
Tips:
■ Look for colours that have a similar undertone.
■ Ensure all colour have the same colour temperature.
■ Include tonal contrast (value) across the colours to keep visual interest.
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ACCENTED ACHROMATIC
An achromatic colour scheme with 1 tone only of one colour added. For example, an
achromatic colour scheme with a red accent will add an important contrast.
Tips:
■ This harmony group allows you to incorporate high chroma and vibrant colours that
will not overwhelm a space because it is surrounded by neutral greys.
■ To maximise the emphasis of the accent colour, increase the contrast of the accent
to the grey with tonal value and chroma. To minimise the emphasis, try to select an
accent colour of a similar value to the greys.
■ Look for colours that have a similar undertone.
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ANALOGOUS
Analogous colours are any 2 to 4 colours, which are side by side on a colour wheel, such as
blue-green, blue, blue-violet and violet.
As the hues selected are closely related, contrast can be created by a varying tone and
chroma. For example, an analogous scheme of blues and greens might have some low key
blue/green shades, some intermediate key pure hues and some high key blue/green tinted
accents.
Tips:
■ One colour can be used as a dominant colour while others are used to enrich the
scheme.
■ Use analogous colour schemes instead of a monotone one to give the scheme more
depth and interest.
■ Care needs to be taken that colours are selected with a similar undertone and
colour temperature.
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ACCENTED ANALOGOUS
Accented analogous colour schemes add the complementary colour opposite the centre
analogous hue. For example, if the Analogous Harmony Group is made up of green, blue-
green and blue, the complement colour used as an accent is red-orange.
The complementary colour becomes the accent to create a dominant colour with the 3
similar colours creating an interesting contrast against the colour grouping.
Tips:
■ The contrast of the accent colour will maximise the emphasis, making it the focal
point and the proportion of it should be smaller than the analogous group.
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CLASH
Made up of 2 colours with one of them sitting to the left or right of its complement. For
example, green and red-orange. The result can be creative and unusual.
Tips:
■ This harmony group is very similar to the complementary group, and care needs to
be taken to avoid using the colours in similar proportions. It is better to make one
the dominant colour and the other an accent.
■ Add white, grey or neutral colours to the scheme to avoid it becoming

overwhelming.
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COMPLEMENTARY
Complementary schemes are created from colours, which are opposite each other on the
colour wheel and often called direct complementary colours for this reason.
This harmony group shares some very special relationship qualities:
■ One colour intensifies the other colour.
■ Mixing some of the complement reduces the chroma.
■ They have the highest contrast, and the reason for this is they will always be made
up of a warm and a cool colour.
■ They are vibrant, lively and dramatic.
■ Pure complementary colours (red/green, blue/orange and yellow/violet) are too

intense in a scheme, but subdued tones of these colours are effective.
■ Complementary colours work best when one colour dominates and the other serves
as a contrast. These schemes are often used to add contrast and highlight a
feature.
Tips:
■ Complementary groups can easily overwhelm a space due to the intensity, and it is
better to mix them with white, neutral or greys to avoid this.
■ Adjust the proportions so that one colour is dominant and the other an accent.
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SPLIT COMPLEMENTARY
A variation of the complementary colour scheme, split complementary creates a more subtle
effect.
It uses the main colour and instead of its complement, uses its 2 adjacent colours. For
example, blue-violet, yellow and orange.
Split complementary colour schemes can be obtained using pure hues or their corresponding
shades or tints.
Tips:
■ Often the similar hues are used in higher proportions in the scheme with the
contrasting colour used as an accent.
■ A more lively choice would be to use the contrast colour as the dominant colour
with accents of the two similar hues.
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DOUBLE SPLIT COMPLEMENTARY
Made up of 4 colours that consist of 2 sets of complementary colours. For example, yellow-
green, blue-green, red-violet and red-orange.
Tips:
■ Because it is made up of 4 colours, the scheme will be lively. To tone it down, adjust
the proportions of the colour and make one dominant and the others accent colours.
■ Neutralise the scheme by selecting a neutral, white or grey for the walls, and use the
double split complementary colours as the accent.
■ The scheme is made up of two sets of complementary colours, so it is better to

adjust the proportion of the complementary colours to each other to reduce the
intensity.
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MONOCHROMATIC
Monochromatic schemes are based on tints and shades of 1 colour or hue and tonal variations
of light to dark value. They are calm and restful but need texture and pattern to prevent
monotony and enhance the scheme.
Tonal variations are easy to use and create a simple background for other features such as
furniture or outside views.
Using a monochromatic scheme is an effective way to promote a hue’s inherent mood. For
example, a range of blues in a beach house or a range of green hues in a nature-inspired
design.
Tips:
■ The scheme can be overwhelming, so is often best when softened with a neutral,
such as white or grey.
■ Can easily become monotonous and tonal variation is required to keep it

interesting.
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TETRAD
A tetrad scheme is made up of 4 equally spaced colours around the colour wheel and contains
two sets of complementary colours. For example, green, blue-violet, red and yellow-orange.
Similar to the double split complementary group, it is used to create a lively colour scheme
and, because of the two sets of complementary colours, it has high contrast.
Tips:
■ Because it is made up of 4 colours, the scheme will be lively, so to tone it down,

adjust the proportions of the colour and make one dominant and the others accent
colours.
■ Neutralise the scheme by selecting a neutral, white or grey for the walls, and use the
double split complementary colours as the accent.
■ The scheme is made up of 2 sets of complementary colours, so it is better to adjust

the proportion of the complementary colours to each other to reduce the intensity.
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69
TRIADIC
Composed of 3 colours located equal distances from each other on the colour wheel. For
example, blue-green, yellow-orange and red-violet. Again, they can be obtained using pure
hues or shades or tints.
Triadic colours might be bright and spirited as with red, blue and yellow or more subtle
tones, shades or chroma reduced colours.
The triadic scheme is particularly useful where a third colour choice is proving difficult.
Although this combination is highly contrasting, the third colour may well be restricted to a
small area of accented cushions or an artwork.
Tips:
■ This colour group has high contrast and can be used to create a lively scheme. To
tone it down try to incorporate white, neutral or grey into the scheme.
■ When colours are used at their full chroma, the effect can be overpowering. Try to
use a tint, tone or shade of the colour instead.
■ Primary colours can look juvenile and best suited for children’s playrooms and
education facilities.
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70
CREATING
SUCCESSFUL
COLOUR SCHEMES
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71
CREATING SUCCESSFUL COLOUR SCHEMES
HARMONY
Colour schemes that work together are called harmonious, and just like the design principle
of harmony that you learned about in Module 1, we can use this to create a successful colour
scheme.
To create a harmonious colour scheme, we need to select colours that have common
characteristics:
■ Chroma
■ Colour Temperature
■ Undertone
Adding any colour to the scheme that does not share these characteristics will create
contrast, and care needs to be taken with the proportions that are used.
In this example, colour harmony has been

achieved by selecting colours that share a
commonality.
■ Colours have similar (brown)

undertone.
■ All colours have a warm colour

temperature.
■ Colours have a similar chroma.
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NEUTRAL
Neutral colours, along with white and greys, are used to play a supporting role to create a
complete colour scheme.
They are made up of subtle tints and tones of a colour and therefore different to an achromatic
scheme. It can be anything from light neutrals, such as cream and white, to dark neutrals,
such as chocolate or charcoal, using different undertones to create a warm or cool neutral
scheme.
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73
PROPORTION
Successful colour schemes address the percentage of the colour to be used and the proportion
of this to the other colour in the scheme.
A smaller proportion can be used to introduce a more contrasting or clashing colour into the
scheme or larger proportion used to calm down a lively colour scheme.
You could consider the percentage of colours used to make a scheme as:
1. Dominant – The predominant colour with the highest percentage. Also known as
the base or key colour.
2. Subdominant – Next prominent colour.
3. Subordinate – Also known as an accent colour and used in lesser amounts to

provide contrast and interest to the scheme. Accent colours are a great way to
introduce a stronger or more contrasting colour without overpowering a space.
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74
CONTRAST
In a large area of white, a contrasting colour will tend to look brighter, and a thin area of
white around a hue will appear larger than it is and will tend to tint the colours near it,
thereby making the colours appear lighter.
If areas of colour are small and closely spaced, the human eye cannot adjust to their
differences and perceives the colours to be mixed. This happens in many woven fabrics
where there appears to be a middle tone that is not actually present. As interior designers,
we can use this to our advantage to direct a viewer’s attention to either highlight or hide a
part of the room.
Contrasting values make the eye aware of

a sense of form.
In this example, tonal contrast has been

used to highlight the “form” of the ceiling
beam.
Adjusting values so they are more similar

will blur the edge between two forms.
In this example, the tonal contrast of the

ceiling beams to the timber ceiling has
been reduced so that the beams are still
highlighted without overwhelming the
design.

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75
In this example, the tonal contrast has
been eliminated, so the “form” of the
ceiling beam is somewhat concealed.
This trick is used to visually hide unwanted

items by painting the object the same
colour as its surroundings to remove the
contrast.
Warm colours will increase the size of an object and expand a space.
In this example, the size of the yellow

chairs appears bigger because yellow is
a warm colour (advancing) against a cool
colour background.
Deep, cool colours will appear to contract and diminish the size of an object or a space.
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76
RELATED COLOURS
When the overall scheme is closely matched, the mood is more subdued.
When the overall scheme contains more contrast, the overall feeling of the space is more
highly energised.
When making this kind of selection at the start of a design project, it is important to
understand that too much of a good thing is too much:
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77
Creating an all beige room can also be deadly boring and not peaceful unless there is some
degree of contrast included.
This can be a contrast in value or hue. Or it can be expressed as a texture like a luminous
wall surface juxtaposed by a rough stone floor or the other way around.
Likewise, when choosing to work entirely in one value group or hue, the level of value
chosen can say a lot to the occupant of the room.
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78
Using a bright off–white with yellow tint and reflective surfaces will create a bright, optimistic,
harmonious and peaceful space.
You could make a room feel sunny in this way. Or you could choose to work in all charcoals
and mid- to darker-value grey with natural and mushroom linen fabrics.
This space would also feel harmonious, but its darker value would be sombre and make the
walls feel like they are closing in.
An all red room would be stimulating yet harmonious in some cases.
An all blue room would be very cool and austere.
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79
CONTRASTING COLOURS
Avoid boring rooms by creating interest with contrasting colours.
Two colours from different segments of the colour wheel are contrasting colours, also known
as ‘complementary’ or ‘clash’ colours.
In fact, when you choose the right contrasting colours, your rooms have energy and balance.
Once you understand how to use the colours together, it’s easy. All you need is a colour
wheel and a general idea of the colours you want to use.
Contrasting colours can be used to:
■ Create an illusion to visually change the dimensions of a room or for effect to

stimulate and create energy.
■ Make a statement in areas, which are occupied for a short period of time, such as a
formal dining room or entrance inside the front door.
■ Enhance children’s rooms with vibrant colour choices such as fuchsia and yellow with
matching saturation for a playful atmosphere, or opt for bright red, white, and blue
to create a lively environment.
Play with splashes of colour in the room as they will add style to the decor and make the
room less monotonous and boring.
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80
COLOUR AND
PERCEPTION
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81
COLOUR AND PERCEPTION
SIMULTANEOUS CONTRAST
A phenomenon called simultaneous contrast occurs when your eyes and brain try to generate
the complementary of any hue they see.
For example, the inner squares in the images below are the same grey but appear to be
different. The outer colours are influencing the grey inner colours, and the grey appears to
be tinged with the outer squares complementary colour.
Simultaneous contrast is the effect of this interaction and influences our sense of the colour
that we see because we seldom see colours in isolation. Simultaneous contrast is most
intense when the two colours are complementary colours.
COLOUR INTERACTIONS
Further to the phenomenon of simultaneous contrast, our perception of a colour will change
when two colours are side by side and interacting with one another.
Colour contrast interaction examples:
■ A dark colour next to a light one makes them both look brighter.
■ Dark next to bright makes the bright one look brighter.
■ Dark next to light makes the light seem lighter and the dark darker.
■ Warmer colours look warmer when placed next to cool ones.
■ Cool colours look cooler when placed next to warm ones.
■ A vivid colour next to a muted colour makes the muted one look more dull.
■ Grey colour make vivid colours appear more vivid.
■ If two colours are of a similar brightness, the less bright they’ll both look when
placed next to each other.
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Example of cool/warm contrast:
Blue colour appears warm.
Purple colour appears cool.
Blue colour appears cooler.
Purple colour appears warmer.
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83
PLANNING A
COLOUR SCHEME
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84
PLANNING A COLOUR SCHEME
Colour is the single most powerful component of an interior. It can transform an ordinary
space into one filled with atmosphere. When planning your colour scheme, always start by
asking the following questions:
■ What activities take place in the room?
■ Who uses the space?
■ What time of day is it used?
■ What is the orientation and shape of the room?
■ What mood is required?
■ What is the adjacent room colour?
■ What colours are the existing furniture and window treatments?
■ What colour is the floor?
■ How do you want the space to feel?
■ What form of artificial lighting is used in the space?
■ What are the preferences - vibrant colour or muted tones - light colours or dark
colours?
Your answers to the questions will influence the choice of appropriate colours for the scheme.
The following factors also need to be considered:

■ Colour is affected by light, adjacent colours and texture. It can be used to
accentuate features or camouflage defects.
■ Colours look stronger when used on large surfaces, so use large test pot samples
before you make a decision.
■ Medium to dark colours show fewer marks than pale, but very dark colours such as
charcoal carpet will show every hair or fleck of dust.
■ Correct proportions of different colours within a room will create balance and a
pleasing scheme.
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Using the same colour or tonal variations on all ceilings, doors and trims also helps to unify
a scheme.
When choosing your colour palette, you may want to start with contrasts. Something dark
paired with something light.
If you wish to infuse a little more colour and energy into your room, you might consider
adding something bright. Where is it that you want these colours?
If you’re more comfortable with pale walls, look to your furnishings, accessories and rugs
for added colour.
When picking your colours, especially the bolder ones, makes sure they are crisp and the
lines are clean.
If your style is more subtle, softer, neutral shades should be considered.
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FLOORING
Flooring? Yes, it is sexier to delve into wall textures, tones, accents and artwork, but flooring
should be your starting point as the foundation of your design creations.
It necessarily determines your colour choices and in turn, impacts the use of textures,
tones, accents and artwork. It can also affect the perceived size of the space. Let’s look at
some elements that will affect your decisions on flooring choice.
NATURAL LIGHT
To start thinking about flooring, first you have to consider the amount and effect of natural
light in the space. A couple of general rules that work:
■ If the space is lacking in ample light, go for a lighter floor.
■ If the space is flooded with natural light, you could opt for a darker floor.
FLOOR COLOUR
Next, you can determine the colour of the flooring, and you have the foundation to create
the atmosphere and mood of a space:
■ Yellow & beige will create a breezy beach house feel.
■ Red & orange will create warmth and intimacy.
■ Brown will create a natural, earthy feel.
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87
■ White & light beige will create brightness and a minimal feel.
■ Grey will create a modern chic, classic feel.
■ Ebony will create a drama.
Flooring colour choices can also affect perception, making a room appear larger, warmer,
narrower, deeper or longer:
■ Light floor & light walls will make a room appear larger.
■ Light floor & dark walls will bring out horizontal lines.
■ Light floor, light ceiling & a light rear wall will make your room look narrower,
deeper and higher.
■ Light floor, light ceiling & a dark rear wall will make your room look smaller.
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88
■ Light floor, dark ceiling & dark walls in the same colour create a shapeless effect.
■ Dark floor, light ceiling & light walls will make your room look wider.
■ Dark floor, dark ceiling & light walls will make your room feel wider and lower.
■ Dark floor, light ceiling & dark walls give an interesting shadow effect since all the
light seems to come from above.
You also have to consider the effect of changing daylight on the floor colour and therefore
the space. Depending on location, changing light can introduce morning awakening, bright
middays, calming sundowns and soothing evenings to affect the moods of your space.
FLOORING FOLLOW THROUGH
An important aspect of flooring is how it flows through to next or nearby spaces. You have
to think of and determine the ‘follow through’ to achieve the planned mood and character
of the space. For example, if you are using tiles or floorboards in a kitchen and dining area
that flows into a family room with carpet, it is a good idea to keep the hard floor and carpet
a similar colour to create a continuous flow.
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89
CREATIVE FLOORING TRANSITIONS
Use of the same flooring, like engineered hardwood or polished concrete, throughout spaces
in a home is useful to create a continuous flow and make spaces feel bigger.
However, it is not always possible to have the same type of flooring throughout, and you can
mix flooring types like tiles and wood to create fabulous creative transitions.
Design your floor, so the switch happens in a shaped, curved or diagonal line instead of
something straight and right-angled.
Cut your wooden floors to match the edge of the tile, whether it’s square, hexagonal or
any other shape, and you’ll get a stylish and eye-catching transition that will accentuate
different zones in your home.
You will learn more about flooring types in the next module.
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90
COMMUNICATING ABOUT COLOUR
You will now have an understanding of colour theory and its application in interior design.
There are millions of colours that can be distinguished by the human eye.
We are all familiar with colour descriptions, such as dusky pink, salmon, aqua, coral, fuchsia,
olive, navy and others, but our interpretation of these colours is subjective and likely to vary
considerably from one person to another.
For this reason, paint companies have their own colour model or coding system, which
assigns numeric values and names to individual colours so that they can be accurately
reproduced using a specific tinting formulation.
Paint colour codes provide a standard reference for communicating ideas and schemes with
painters, furniture manufacturers and tradesmen who are liaising with you on a design
project.
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If there is no suitable standard colour from the charts for a specific job, a spectrometer
computerised machine can colour match a sample, and then a formula can be developed.
Pantone colour swatches are often used for printed material, such as business cards,
magazines and publications.
When you refer to colours, always provide a sample and detailed specifications to avoid any
confusion or mismatching.
Assignment by #IDIstudent Angela Hector
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92
HOW TO SPECIFY
COLOUR
ACCURATELY
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93
HOW TO SPECIFY COLOUR ACCURATELY
Use your eyes, and have the confidence to trust your emotional response to a colour
combination.
Colour Schedules – set out all the colour you plan to use on a project. Make sure they
somehow relate to each other.
Colour Samples – use sample pots, sample chips and fan decks. Make big paint samples
on drawing paper. Leave them in the space you are designing. Watch how that colour feels
at various times of the day.
Paint Outs - a small part of a wall can be painted by the professional painter as a last check
to be sure you have the right shade or tint.
Observe how a sample colour changes with the light. Take your time deciding about a wall
colour or the addition of a piece of furniture into an existing scheme.
Learn to look at colours and recognise the dominant undertone; even subtle off-white colours
vary considerably.
When choosing colours, remember that they look different:
■ In different types of light (incandescent, halogen & fluorescent)
■ Next to different colours
■ Depending on the amount of the colour used
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SAMPLING COLOURS
When you have selected or proposed colours for a scheme, purchase a test pot and paint
out an A2 sheet of card with two coats of colour.
Leave a white border around the edge of the card to ‘isolate’ the colour and move the
sample around the room to look at it on different walls and at different times of the day or
night. Secure it with some tape, and observe the colour for several days.
Remember to consider other samples, such as fabric, benchtop surface and cabinetry colours.
When you are sure about the choice of colours, develop a colour schedule, setting out the
colour, code and product for each area of the house.
Remember, colours on adjoining walls will reflect on to each other and appear stronger than
they may look in a small swatch. Take your time, and allow your client to take their time too.
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95
It is better to spend some time testing and to spend some money on test paint than to make
an expensive mistake with painters on site.
Make sure you use actual colour swatches and samples for all of your work.
When working with colour, the most important rule is to use your eyes.
If the colour looks right, it usually is. If it looks wrong, pay attention and take the correct
steps to fix it.
With a working understanding of the physics of colour, you will be empowered to use it as
the most amazing design tool.
Make sure you have achieved the mood and rhythm you have set out to achieve. Use plans
and elevations to review the placement of various colours.
This is your chance to adjust any colours before making samples on the walls.
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EXTERIOR COLOUR
How best to showcase any building’s (home or otherwise) placement is by its exterior colour.
It is the building’s first impression.
It can make a statement with its curb appeal, establishing the building’s place on the street
or just blend in harmoniously. But be aware that making a statement can affect the entire
street, putting a lot of pressure on your clients! And, of course, the exterior colour has to
relate to the created mood of the interior space.
As an interior designer, you will have to be a colour specialist and will be asked to select
colours for the exterior. There are many factors to be considered before choosing an exterior
colour scheme. In terms of priority:
The architectural style of the building brings its own colour style to apply to its overall finish.
Each style has a characteristic exterior wall finish including colour.
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That’s not to say you can’t add a contemporary feel to a traditional home, creating a
statement on the street.
CONSIDER FIXED FEATURES
Permanent features, such as roof shingles, tiles, brickwork, aluminium window frames and
driveways, cannot be changed and can be restrictive or sources of more creativity.
The roof and driveway, in particular, will be large areas so the colours you choose will need
to blend in with them. They can provide undertones, warm (beige, khaki and brown) or cool
(blues and greys), that can underlie your creative development of colour for the building.
THE ASPECT OF THE HOME
Sunlight will affect the building differently at different times during the day as well as
seasonally. Aspect is determined by how the building has been positioned or the direction
of the building. In the Southern Hemisphere, if a home faces north, don’t use saturated
colours as they look very bright in direct sunlight; use muted or greyed colours instead. If
the home is sheltered and doesn’t receive any direct sunlight, a warm colour can help create
an inviting feel.
Just like painting an interior, exterior shades will change depending on the time of day
and the weather conditions. Painting an exterior is a much larger area than an interior
space, so it’s wise to buy at least one litre of paint rather than a small sample pot. Paint
an inconspicuous area of the home and study it at various times of the day and in various
weather conditions.
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Make sure to select your exterior colour samples under natural light but not direct sunlight.
Test the samples next to bricks, tiles and pavers to see if the undertones work well together.
Once you get the main wall colour right, you can then worry about the contrast colours.
APPLY THE VISUAL EFFECT YOU WANT TO ACHIEVE
Think about the visual effect you want in relation to the streetscape and the surrounding
landscape. Do you want the home to sit in harmony with the streetscape and landscape or
do you want it to stand out in the neighbourhood?
BECOME AWARE OF PAINT TECHNOLOGY AND TRENDS
Painting the exterior of a home is a costly exercise in both time and money, and I would always
advise clients to hire a professional for the job as it will involve scaffolding and specialised
painting equipment. That said, be aware of the trends. With current paint technology, you
should get at least ten years from a good quality exterior paint finish.
If you want to use an on trend feature colour, make sure you take into account that it may
have to be repainted when it becomes dated or the client is sick of it. The front door is a
great example as you will not need to hire a painter to change it.
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TYPES OF PAINT SHEENS
SEMI-
FLAT EGGSHELL SATIN GLOSS
GLOSS
Paint sheen or finish refers to the amount of light that the paint reflects from its surface. In
other words, paints with a sheen reflect light and paints without a sheen absorb light.
Flat (up to 4% gloss)

Matte (5–10% gloss)
Flat or matte finishes are usually grouped together.
Characteristics:
■ Flat finishes have a micro rough texture that may trap dirt and make cleaning walls
difficult.
■ They conceal surface imperfections on walls better than higher sheen paints.
■ Useful for walls and ceilings, especially for ceilings and low traffic areas like guest
bedrooms, studies or other rooms that don’t get a lot of wear and tear.
■ They are not always durable even if they’re sold as washable. Many homeowners
find that cleaning their walls without removing the paint can be tough.
Eggshell (10–25% gloss)
Eggshell finish has a slight sheen and is often described as ‘matte plus’.
Characteristics:
■ The finish is more durable than flat paint.
■ It is easy to clean.
■ Good choice for a more formal or modern look but not for high traffic areas.
■ Often used in living rooms and dining rooms – places that get regular use but aren’t
likely to need the sort of regular care a kitchen or child’s bedroom might require.
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Satin (25–35% gloss)
Satin finish is slightly glossier than an eggshell finish with subtle reflective qualities that give
the walls a silky finish.
Characteristics:
■ With 25–35% gloss, it is easier to clean.
■ It minimises contrast with trims.
■ It is a good choice in high traffic areas. The contrast minimisation makes it suitable
for skirting boards, architraves, cornices and doors.
■ Its sheen means that it is not as forgiving in showing imperfections in brushstrokes.
Semi-Gloss (35–70% gloss)
Semi-gloss is glossier than satin with even more reflective qualities.
Characteristics:
■ With higher gloss content, it is easier to clean.
■ It is more durable for wear and tear.
■ It is ideal for skirting boards, architraves, cornice and doors.
■ Often used in kitchens and bathrooms or walls that are subject to wear like a
children’s playroom.
Gloss (70% or higher gloss)
Full gloss finish on walls will maximise reflection for a more dramatic visual effect.
Characteristics:
■ Shows imperfections, so the surfaces would need to be well prepped before

application.
■ Generally used for highlighting architectural features and painting furniture for a
lacquer-like finish.
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WALLPAPER
Wallpaper use is undergoing a big resurgence in some parts of the world. In other parts of
the world, wallpaper has always been an important decorating device.
The tradition of wallpaper is almost as broad as the tradition of decorative textiles. Designs
are closely linked to textile patterns.
As with textiles, there are wallpapers that reflect decorative motifs from nearly every design
era.
Wallpaper is available in continuous patterns, border patterns and panels. The point of
wallpaper is to add pattern and dimension to a large surface.
High-quality wallpaper can add a completely different dimension to a space.
When you add pattern to a wall, be prepared to layer patterns throughout the room. The
patterns don’t have to match and they definitely shouldn’t be identical, but they have to
work together.
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WHERE TO USE WALLPAPER
Wallpaper is effective on four walls but can sometimes overwhelm the space. Other
alternatives are:
■ One feature wall
■ Inside a cabinet with glass doors
■ Built-in cabinets or shelves
■ Above or below a chair rail/dado rail
TYPES OF WALLPAPER
Since there are many different types of wall coverings on the market with some for very
specific uses, it is important to understand the qualities of each type and in what type of
environment the wall coverings will be used.
When selecting wallcoverings, the first variable to consider is the amount of traffic the area
will receive. Paper and natural wallcoverings are most appropriate where traffic is minimal,
and they are more delicate than their vinyl counterparts.
Vinyl and synthetic textiles, with their maximum durability and ease of cleaning, are especially
appropriate for hospitals, sporting arenas, schools and other high traffic situations. In more
recent times, removable wallpaper is now available, which is a great option for people
renting or looking to update the interior design of a room more often.
This type of peel and stick wallpaper is not as durable as the traditional type of wallpaper
and should be avoided in wet areas.
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Removable wallpaper is digitally printed, and this process has opened up an opportunity to
create custom wallpaper or wall murals. There are many companies available offering this
service, and the scale of the image printed is fully customisable to the size of the wall it is
being used on. To research this further, use a search engine to find “Custom Wallpaper” to
source a company that services your area.
SPECIALTY PAINT FINISHES
Speciality paint finishes are available to recreate the look of another material or to give the
painted finish a more decorative effect. They are often made up of two or more parts that
will need to be applied separately with a brush, rag, roller or trowel.
Each company would have its own range of speciality finishes. Here we have showcased
some popular ones:
Liquid Zinc with Zinc Ageing Solution
Liquid zinc contains zinc powder and is applied as

the first coat in a two-part process.
Liquid zinc is then treated with zinc ageing

solution, which is a chemical reaction that ages
the zinc particles to give a unique finish.
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Liquid Iron with Instant Rust
Liquid iron paint contains iron particles and is

applied as the first coat in a two-part process.
Instant rust is a chemical that is applied over the

liquid iron that causes the iron particles in the
paint to rust.
French Wash
French wash is applied over a standard low sheen

acrylic with a rag, rag roll, dragged or sponge to
produce a variety of painted effects.
Fresco
Fresco is applied with a trowel and sanded

smooth to create depth and interest. It is then
polished with Stucco wax to provide a rich lustre.
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For more information on speciality paint finishes from Porters Paints, please visit a store or
their website: www.porterspaints.com/paints/speciality-finishes
Porters are the market leaders for this type of speciality finishes, but Dulux also carries a
small range of finishes available through hardware stores. More information on these can be
found at: www.dulux.com.au/products/designeffects/overview
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PAINTERS
In some countries and states, you are required to be licensed.
However, a lot of painters do not have formal training or qualifications, so professionalism

varies a lot.
As an interior designer, you will be hiring painters, so you have to make sure your choice
will deliver the quality or standard required.
Reputation and word of mouth is important especially as proof of prior work. A professional
painter should be able to:
■ Explain any required surface preparation.
■ Quote accurately.
■ Have the right equipment for the job.
■ Adhere to local Health and Safety regulations and codes or practice.
■ Ensure the painter’s business has adequate Worker’s Compensation cover for all
its employees.
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COLOURS ON COMPUTERS
Images viewed on your computer monitor may not be exactly the same colour when they
come out of your printer because different systems are used to reproduce the colour.
Calibrating your computer monitor and printer ensures that what you print will be consistent
with what you see on the screen.
We see real world colour when light shines on a physical object and reflects into our eyes.
On printed pages and photographs, tiny dots or pixels of cyan, magenta, yellow and black
pigments give the optical illusion of different colours.
This is the subtractive colour method, which begins with white and subtracts colour using
the CMYK colour system (cyan, magenta, yellow, and black). Virtual colour on a computer
screen, television screen or coloured electronic display device is communicated by light
beaming directly into our eyes. This is the additive method, which creates colour using red,
green and blue (RBG) light beams. These are the primary colours of light that are combined
additively to produce the desired colour.
In the RGB system, the red, green and blue dots are assigned brightness values along a
scale; for example, 0 to 255, where 0 is dark and 255 is bright. By listing values for red,
green and blue, you can specify the exact colour that will be mixed.
To ensure accurate colour rendition, a computer monitor needs to be calibrated for brightness,
contrast and colour. Test images can then be visually adjusted on the printer settings to
match up screen and print colours.
This process is essential for interior designers who develop and print virtual colour schemes
for client projects, but again, physical samples of each paint colour should always be sampled
before making the final colour selection.
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INTERIOR PAINT COLOUR VIEWERS AND VISUALISERS
Colour visualisers are available to help you see the effect that different paint, flooring and
furniture colours will have on your room.
These tools were developed to let you play with paint colours and visualise what a colour
scheme may look like in your room.
Depending upon your browser, some may work a little better than others.
■ Dulux
■ Taubmans
■ British Paints
If you are unable to find the perfect paint colour for a scheme, a computerized
spectrophotometer can colour match a reference sample and specify a formulation.
This machine measures colour electronically by taking a reading of each wavelength of light
reflected off the object and calculating the exact amount of various pigments it will take to
make a colour match.
If any minor adjustments are required, they can be made manually by an expert colour
matcher when the paint is tinted.
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TREND FORECASTING
As interior designers, we are expected to keep up with current trends.
Trend forecasting is a term that refers to the future prediction of upcoming trends.
There are a number of companies that produce future trend forecasts that are available for
sale, and these predictions cover pattern, texture, materials, colour and furniture.
EXAMPLE SHOWS THE “COMEBACK” TREND FROM A PAST FORECAST
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Fashion tends to reflect whatever is opposite of what was just fashionable. We all know
that the home industry follows the fashion world for colour, texture and pattern. It’s a
relationship as old as fashion itself.
Each year, when Pantone sits down to forecast the colour direction for the upcoming year, it
first addresses fashion, following that report with a report that details what we can expect
in furniture, paint, accessories and more.
STAY INSPIRED
You can follow the latest trends and stay inspired by visiting the ‘Resources’ section within the
student site. Colour is expressive, fun, creative, complementary and always conversational,
so have fun with it!
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ASSIGNMENT SIX
INTERIOR COLOUR SCHEMES
STEP 1 STEP 2 STEP 3 STEP 4

SELECT SOURCE COLOUR/ SOURCE PAINT NAME, INCLUDE SUMMARY FOR
THREE SCHEMES WALLPAPER IMAGES CODE, FINISH, TYPE EACH SCHEME
Propose three different paint colour schemes for the entire ground floor that you completed
in Assignment 4.
Your schemes are to be made up of three colour schemes from the Colour Harmony Groups
chapter in this module.
For your selected colour group, you can add a neutral, white, grey or black to create a
complete colour scheme.
For example:
■ Scheme 1 - Monochromatic
■ Scheme 2 - Analogous
■ Scheme 3 - Achromatic
To assist with the assignment, it is recommended that you purchase an “artist’s colour
wheel” like the image below. The colour harmony groups are shown on the back, and the
wheel is designed to spin around and quickly identify all the colours in the group.
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Each scheme is to include all the rooms for the entire ground floor and should include paint
colours and finishes for:
■ Ceilings
■ Walls
■ Wallpaper
■ Painted Feature Walls (if applicable)
■ Doors
■ Architraves
■ Cornices
■ Skirting Boards
You can choose as many colours as you like for each scheme as long as it is within the colour
harmony group.
MONOCHROMATIC EXAMPLE
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THINGS TO NOTE
Remember that our perception of colour will change when placed next to another colour, so
ensure that your colours work well together and are harmonious.
Also consider the orientation, the natural and artificial light and the mood and function of
each room when planning the schemes.
Note that the wall colour may vary from room to room, but the ceiling, internal doors,
architraves, cornices and skirting board colours are usually consistent throughout the interior
of a home.
Please be clear about where a change of wall colour occurs, especially relevant in an open
plan space. For example, the southern wall of the dining space is in colour “X” and all other
walls in the open plan space are in colour “Y”. In a standalone room, if more than one colour
is used, please state which one. For example, the western wall is in colour “X” and all other
walls in colour “Y”.
You can help your tutor visualise the overall colour scheme by selecting a paint colour to
indicate the proposed furnishing and accessory colours on a colour scheme proposal.
Along with this, you may want to select an image of the type of flooring you intend to use
in the design and include it in your proposal.
Do not include the cabinetry for the kitchen, laundry or bathroom as they will not be painted
in this task. You can mention the colour in your proposal, but we will cover this and other
interior finishes in Module 7.
You can set out each of the three schemes like in this Colour Scheme Example or you can
get creative with it.
You are welcome to use the below programs to create your schemes, but please export it
as a PDF:
■ Microsoft Word, Excel or PowerPoint
■ Google Slides, Docs or Sheets
■ Apple Pages or Numbers
■ Adobe InDesign, Illustrator or Photoshop
■ Canva
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A guide to making a colour scheme proposal is outlined as follows:
COLOUR SCHEME EXAMPLE
PAINTED SURFACES (INCLUDES WALLPAPER)
3D Vintage Dulux Dulux Dulux Dulux

Dark Floral Porpoise Summer Cloud Domino Mr Mustard
Wallpaper Place Half
PAINTED SURFACES
To include (topcoat) paint and wallpaper that are to be used for each surface. It is
recommended to keep the colour palette simple and avoid using more than 6 colours.
Remember that this is to include painted surfaces only and exclude cabinetry for the
kitchen, bathroom and laundry.
ACCENT COLOURS (FURNITURE & ACCESSORIES)
Dulux
Dynamic
Shiraz
ACCENT COLOURS
Select a paint colour to indicate the colour you would like to use as an accent for the
furniture and accessories.
The accent colour needs to fit with the colour harmony group, along with the colours
used for the painted surfaces.
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FLOORING
Black
Herringbone
Floor
FLOORING
**NOTE: Including this image is optional**
You can select an image of the type of flooring you intend to use in the design and include
it in your proposal. For this assignment, you do not need to specify the actual product
because this will be covered in Module 7.
Along with this, you have the option to include some information about each of your colour
schemes to help explain your design intentions and include inspirational images that have
impacted your selections.
Please refer to the Colour Scheme Example for more information.
You are to create a paint schedule to detail the paint (or wallpaper) that is to be used for
each of the painted surfaces across the ground floor.
The paint schedule is to include the following information:
■ Name of the scheme – For example: Scheme 1 - Monochromatic
■ Area to be painted or wallpaper used – List the room, surface and location
■ Image of the colour or wallpaper – This can be a screenshot
■ Paint name and code - List the company name and colour along with a code
(if the company uses a code system)
■ Paint finish – You will need to conduct research and select a paint type to be used
as a topcoat for each of the surfaces specified on the paint schedule
■ Paint type – You will need to include the brand, paint name and finish (sheen
level); for example: Dulux, Wash & Wear, Low Sheen
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A guide to creating a paint schedule is provided below:
PAINT SCHEDULE EXAMPLE
AREA COLOUR PAINT NAME & CODE PAINT FINISH
SG6G8
Dulux, Wash & Wear
Door Frames Dulux
Gloss
Domino
S14G6
Laundry and WC Dulux, Wash & Wear
Dulux
Walls Low Sheen
Mr Mustard
S32E7
Hallway and Stairs Dulux, Wash & Wear
Dulux
East Walls Low Sheen
Porpoise Palace
Dining, Hallway, and SW1H3

Stairs Dulux, Wash & Wear
Dulux
West, South, North Low Sheen
Walls Summer Cloud Half
Dining Room Feature 3D Vintage Dark Esty Store: Jess Art

East Wall Floral Wallpaper Decoration
The paint schedule is used to communicate the colours (and wallpaper material) shown in
the “Painted Surfaces” section of the colour scheme proposal and details where they are to
be used in the design.
A paint schedule is to include (topcoat) paint and wallpaper materials that are to be used
for the painted surfaces only. All other information on flooring, cabinetry and accent colours
are to be left off the paint schedule. The undercoat, primer and other surface preparation
information are not required, as the schedule is to show only the topcoat paint details.
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GUIDE TO COMMUNICATING THE AREA SECTION ACCURATELY
The “Area” section is used to explain what surface you intend to paint and its location.
Things to include are:
■ Surface, i.e., doors
■ Room, i.e., dining room
■ Wall location, i.e., west wall
This information can be simplified if the paint is to be used on the same surface throughout;
you will only need to advise the surface. Or if it will be used on all walls in an entire room,
you can list the room and the surface only.
For areas that have a feature wall, you are to specify and detail the paint that is to be used
on each wall. In the previous example, you can see that the dining room has a wallpaper
feature on the east wall, and a paint has been specified for the west, south and north walls.
HOW TO SELECT YOUR COLOURS
Select colours from any colour/paint supplier that you are familiar with or you can find your
colours online using the following websites:
Porters Paints Dulux

Taubmans Sherwin Williams
Benjamin Moore British Paints
Resene Glidden
Behr Dunn Edwards
Keep in mind that, when working on a real project, it is better to visit a paint or hardware
store to select the colours using paint chips/charts/brochures etc., to see the actual colours.
Computer screens can vary and not give an accurate visualisation of the exact colour.
Once you have selected your colours, simply save them to your computer by taking a
screenshot of each colour and then place them into a Word document.
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HOW TO SAVE YOUR COLOURS
If you are working on a PC with Windows, there is a program built in called Snipping Tool,
which you can find under the start button and then programs.
It is very easy to use and you simply drag over the colour you wish to save and save it
to your desktop. For tips on how to use the Snipping Tool, please click this link.
If you are working on a Mac, you can refer to the below steps:
■ Press Command-Shift-4.
■ Move the crosshair pointer to where you want to start the screenshot.
■ Drag to select an area.
■ Select the area you want and release your mouse or track pad button.
■ Find the screenshot as a .png file on your desktop.
You can also follow the steps on this link. Once you have saved your colours to your desktop,
you can then insert them into the document you are working on with your text.
RESOURCES
Colour Scheme Example

Using Excel and Word to Modify a Schedule (PC Version)
Glossary
SUBMISSION REQUIREMENTS
This assignment requires you to upload:
A total of 1 PDF file containing your 3 colour schemes and summary.
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ONLINE WORKSHOP ALERT
Did you know we have an online workshop called ‘Colour Theory’, which is completely
optional and has been designed to accompany this module as an additional resource?
In this workshop, hosted by IDI tutor Vicki Mullins, you will learn how to successfully combine
colours, how to see actual colour and identify undertones, and how to create schemes that
work. The workshop costs $29 USD and includes a downloadable booklet. Head to the
“Workshops” tab within the Student Site for more info.
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#IDISTUDENT ASSIGNMENT EXAMPLES
We have included a few snippets of assignment submissions by fellow students to give you
an idea on ways to set your assignment out. Use them as inspiration only and do not copy
word for word.
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COLOUR
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IMAGE SOURCES
COVER IMAGES
Module Cover Image by fromwherever.co
Colour Cover Image by Mandarin Stone
How Design Elements Interrelate Cover Image by Black Band Design
Guidelines for Using Colour Cover Image by Stocksy
Colour and Light Cover Image by Backdrop
Colour Psychology & Symbolism Cover Image by Shutter Stock
Colour Mixing Systems Cover Image by 123rf
Properties of Colour Cover Image by iStock
Colour Harmony Groups Cover Image by #IDIstudent Nikki Astwood
Creating Successful Colour Schemes Cover Image by Shutter Stock
Colour and Perception Cover Image by 123rf
Planning a Colour Scheme Cover Image by #IDIstudent Nikki Astwood
How to Specify Colour Accurately Cover Image by Just In Place
OTHER IMAGES SOURCED FROM
Darren Palmer Emily Henderson Instagram

Dylan James Three Birds Renovations Google Images
Nikki Astwood Dulux Shutter Stock
Kelly Donougher Pantone Adobe Stock
Nardia Nelson Behance 123rf
Lindye Galloway Pinterest
COLOUR
123

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CATION ALL RIGHTS RESERVED

HOW DESIGN ELEMENTS INTERRELATE 15

GUIDELINES FOR USING COLOUR 26

COLOUR AND LIGHT 29

COLOUR PSYCHOLOGY & SYMBOLISM 35

THE EMOTIONAL EFFECT OF COLOURS 35

COLOUR MIXING SYSTEMS 41

THE HUMAN EYE 41

ADDITIVE COLOUR MIXING 42

SUBTRACTIVE COLOUR MIXING 43

THE COLOUR WHEEL 43

COLOUR HARMONY GROUPS 59

CREATING SUCCESSFUL COLOUR SCHEMES 72

COLOUR AND PERCEPTION 82

PLANNING A COLOUR SCHEME 85

COMMUNICATING ABOUT COLOUR 91

HOW TO SPECIFY COLOUR ACCURATELY 94

SAMPLING THE COLOURS 95

TYPES OF PAINT SHEENS 100

SPECIALTY PAINT FINISHES 104

COLOURS ON COMPUTERS 108

INTERIOR PAINT COLOUR VIEWERS AND VISUALISERS 109

TREND FORECASTING 110

STAY INSPIRED 111

ASSIGNMENT SIX 112

Colour is essential, seductive and pervasive.

Images via @resenecolour

Images via @resenecolour

Images via @pointsupreme

Colour can be the key to entirely changing the mood in a space.

Images via @archdigest

The aesthetics of colour are a magnetic topic.

What is your favourite colour?

What colours create certain moods?

Images via @archdigest

Then there are bright colours.

Then dark colours become important.

Colour is the most powerful tool you have as a designer.

Images via @ohjoy

Images via @resenecolour

Images via @archdigest

Images via @archdigest

Colour can highlight or obscure structure depending on your design requirements.

How to do this most effectively will be discussed in this module.

Shapes can be highlighted or hidden with the correct use of colour.

This is similar to what we have just discussed.

Pattern can be emphasised or created with colour alone.

It is important to balance colour with texture and pattern to provide a harmonious

“When decorating an entire house, think of it as a totality, a series

As we have learned in Module 5, without light, colour does not exist.

Violet is the shortest visible wavelength at 380nm.

If we change the colour of the light to blue:

■ The colour of the blue cube is intensified.

If we change the colour of the light to yellow:

■ The colour of the yellow cube is intensified.

2. Wall facing the window

3. The walls perpendicular to the one with the window

THE EMOTIONAL EFFECT OF COLOURS

Colour is a way in which people express their creativity.

Giving meaning to colour is a tradition that is as old as humanity.

Why are people so hesitant to use colour in their home environments?

Why is the neutral space currently the ideal?