On Color

Color is an illusion. Often presumed a property of the physical world (much like size, shape, and weight), color is rather a perceived attribute manufactured in the mind.

The brain processes wavelength reflection and absorption of light cast upon objects, as well as environmental cues such as background, texture, and shadow. Its findings are rendered into a perceived color experience. 

Unlike size, shape, and weight, color is not fixed nor measurable and the experience of it is not altogether shared. 

While certainly variable among different species (relative to humans, the visible spectrum is narrower in dogs but wider in pigeons), color experience also varies among people depending on physiological predisposition such as age and genetics as well as cultural tradition and linguistic nuance.

The blue one sees when looking at the sky may be perceived differently in both hue and connotation by someone else of a different genetic composition, and cultural and personal experience.

Sir Isaac Newton is foundational to the general understanding and historical narrative of color. His experiments demonstrated that white light is rather a combination of colors by fracturing it with one prism and reconstructing it with another (Figure A.).

Though white light is comprised of a combination of colors (additive mixing), the opposite is true of paint. The more paint colors that are combined (subtractive mixing), the closer the resulting hue is to black. Wavelengths added and subtracted affect light reflection and thereby perceived hue.

It was for this reason that early pigments (for example, that which was used in art and textiles) were often achieved by way of natural resources rather than mixing. Though synthetic processes are now widely adapted, the regional availability of early natural resources and difficulty of early production practices play an enduring role in modern and cultural relationships with color.

The lens through which one experiences color is shaded by genetic predisposition and composition as well as the collection of experiences personal to the individual. 

Color blindness, for example, limits the perceivable spectrum and the ability to differentiate between color families, such as greens from oranges. Age is another physical factor. The eye yellows as it ages, gradually yellowing all other perceived color. 

Personal background likewise has a profound effect on the way in which one experiences color. A traumatic or sentimental event may forever alter a personal color association; thus, a fulfilling childhood growing up in a blue house may forever shape how one experiences the color blue.

Cultural indoctrination further affects color association, as white is associated with weddings in the west but, in the east, weddings are associated with red. Linguistic nuance further influences color experience as not all languages have names for all colors and merely having a name for a given color improves one's ability to perceive it.

Red is tested and proven capable of raising the heart rate. This color is associated with love and luck but also danger, rage ("seeing red"), and power.

Orange is named for the fruit (and not the other way around). The color orange is associated with autumn, energy, and warmth—but also, the fruit.

Yellow is often utilized for its high visibility. This color is associated with sales discounts and traffic signs but also sunshine and happiness (though, it also has the tendency to annoy and upset).

Green is readily found in and synonymous with nature. This color is associated with environmentalism and freshness but also money and greed.

Blue is capable of decreasing heart rate and (however relatedly) is a common favorite. It is associated with serenity, the sky and sea but also sadness ("feeling blue") and the cold.

Violet is the newest synthetic color and so, until relatively recently, was expensive to manufacture. The color purple is associated with royalty and luxury but also wisdom and mysticism.

Black presents in the absence of light. This color is associated with night and the unknown but also class and sophistication.

White is the absence of color and the presence of light. This color (or lack thereof) is associated with cleanliness and sterility but also purity and honesty ("white hat").

The color wheel (Figure B.) is made up of primary, secondary, and tertiary colors.

Primary colors (blue, red, and yellow) are those that cannot be achieved by mixing other colors. 

Secondary colors (green, orange, and violet) are those that are achieved by mixing primary colors; for example, equal parts blue + yellow = green. 

And tertiary colors (blue-green, blue-violet, red-orange, red-violet, yellow-green, and yellow-orange) are those that are achieved by mixing a primary and secondary color, such as equal parts blue + green = blue-green.

A reliably cohesive color palette can be created using the color wheel (Figure B.). Each color falls on the color wheel in such a way that they can be easily configured into color schemes, such as analogous, complementary, and triad color schemes.

An analogous color scheme is assembled of two or three colors that fall in succession on the color wheel; for example, yellow-green, green, and blue-green (Figure C.).

Complementary color schemes are configured of two colors directly across one another on the color wheel, such as green and red (Figure D.)

Triad color schemes are made up of three colors equidistant on the color wheel, such as green, violet, and orange (Figure E.) 

In a three-color color scheme, one is usually dominant and occupies about 60% of a space. This is comprised of larger elements such as wall treatment and furniture. 

Another color usually serves as a secondary color and occupies about 30% of a space. This is comprised of mid-size elements such as textiles; for example, window treatments, area rugs, and throw blankets.

The third color usually is an accent and occupies about 10% of a space. This is comprised of smaller elements such as throw pillows and decorative items like vases, art, and figurines.