Special Color Effects

A number of circumstances alter the appearance of color. In the theoretical consideration of color schemes, all colors are thought of as uniform, solid, and flat (nonglossy). In practice, real materials have characteristics that modify the way color is seen.

Textured surfaces alter apparent color by introducing shadow or gloss at a microscale. The color seen is then the color of the material modified by the textural elements, so many textured materials will shift color when observed at different angles or when rubbed in one direction or another, such as suede. In addition, brick, stone, or plaster can alter the appearance of paint. This is why it is important when choosing colors for surfaces such as these to judge from actual samples of the material being used.

Color can appear in patterns as well. For instance, from far away, a patterned wallpaper may appear to be one color, a mixture of various colors that make up the pattern. However, when observing closer, one sees the various colors used in creating the pattern, and they stand out a part from one another. In addition, space can influence how colors appear. When seen against a larger background, small areas of color may alter in both value and hue. Light colors will appear lighter than they are when seen against a darker background, and darks become darker against a light background. Furthermore, warm colors are said to advance, which is appear closer than they are and cool colors recede, appearing farther away. Placing sharply contrasting hues together (one light, one dark) creates a sense of vibration as the colors seem to move in opposite directions.

With metals, it can become confusing. Polished metals act as a mirror, reflecting adjacent colors. White metals, such as silver, stainless steel, aluminum, and chromium, reflect colors back with little change. Brass, gold copper, and other colorful metals act much as a tinted mirror, tinting the adjacent colors they reflect back yellow, orange, or reddish brown, according to the metal in question. Further, the effect is also influenced by finish or textured metallic surfaces. This is why it it recommended to judge from actual samples of the material being used.

It should be remembered that color and color effects are influenced by the presence of light, which is what makes it possible to see color at all. Many interiors must serve with both daylight and artificial light, so in most cases, proposed color schemes should be evaluated under both types of lighting and under combinations that simulated the light that will be present in the real space.

Having absorbed as much of the theoretical views of color as possible, actual work with color comes down to some methodical steps that can be aplied to virtually any interior problem.
1. Note down in an orderly list the factors that will influence the scheme.
2. Establish the general character of the scheme in relation to the factors outlined above.
3. Make selections of color for one or two of the major large areas, such as floor, walls, and ceiling.
4. Add color selections for secondary items such as furniture, drapery, and other elements.
5. Add selections of small areas of color that will act as accents.
Once these basic selections are made, the scheme can then be adjusted, changing one or more items to improve or fine-tune the scheme.

A decision to keep all materials in their own natural, unaltered color will generally produce a pleasing and harmonious result. Each material, whether brick, stone, wood, plaster, tile, or other has a natual color that results from its growth or manufacture, a color that will be visible as long as no colorants, paints, or dyes are used to alter the basic color of the material itself. Neutral color is generally very safe since its colors are basically neutral, precluding harsh, unpleasant, or clashing combinations. Its record of success in both historic and modern interior design is impressive. In spite of its generally limited range, it rarely seems monotonous, perhaps because it stays close to the natural color range of the outdoor landscape, a range that has an almost univeral appeal.

Functional color is the approach most widely used in developing color schemes. It is based on an analysis of what color is expected to do for the interior space in an active sense. Warm color is welcomed in cold climates or spaces with a norhtern orientation wthat will never receive direct sun. Likewise, cool colors are helpful in hot and sunny locations. Elements can be emphasized or visually diminished through the selection of color and messages subtly conveyed through selections of colors that attract, repel, or express specific attitudes. A white door in a white wall will seem to disappear. A bright red door invites attention and suggests importance.

Successful color depends, above all, on the planning of a total scheme with all elements, in swatches or samples of whatever sort, viewed in relationship to one another in proportional areas and under appropriate light.