Hue is the quality or characteristic by which one color is distinguished from another. The elementary hues that we differentiate are based on the spectral hues red, orange, yellow, green, blue, and violet. All colors are judged to be similar to one hue or a proportion of two of the spectral hues.Thus crimson, vermilion, and pink are close in hue, although they are different colors. Physically, hue is determined in wavelength. White, gray, and black are perceived as being colorless, not reddish, yellowish, greenish or bluish. They are therefore termed achromatic.

Saturation is the second attribute by which a color is distinguished. Also referred to as strength, intensity or chroma, it designates the purity of a given color, the quality that distinguishes it from a grayed-down color (less chromatic or intense).Two colors may be the same in hue (for instance two greens), and one lighter or darker than the other, yet still appear different in color strength.

Lightness, or its synonymic value, is the third dimension in the description of color, differentiating dark colors from light ones. The lightness of a pigment is the measure of how much light is reflected from its surface. Sometimes brightness is used as a synonym for lightness – which may be confusing. Brightness means the intensity of a light source or a luminous sensation when describing light, and it means highly saturated when describing color.

Nuance describes the intensity of a hue, that is its brightness, darkness, or proportion in color mixtures.

Philosophers and artists have been making statements about individual colors and color groups since the beginning of recorded history. Yet an attempt to spatially order and systematize the “color world” came relatively late. Leonardo da Vinci began to understand colors as references: yellow-blue, red green as polar pairs on one level and with black-white at opposite ends of a perpendicular axis. From this beginning, continued later by Leon Battista Alberti, a double pyramid or double cone shape began to emerge. In 1611, the Finn Aron Sigfrid Forsius published a color system in his book Physica, in which he uses a spherical shape to present a body of colors and the system underlying it.

Many large paint manufacturers use a color system. They have often developed their own systems or use systems that are not company-specific (NCS, RDS, Munsell, Color-Harmony). Using these systems, paint collections are filled into receptacles for practical use.

They present a selection corresponding to fashion or trend criteria and are regularly modified. In the system of code numbers it often becomes clear that other colors are possible, which is necessary for the use of this as a tool. In addition to these paint collections, a reference should be made to the popular RAL card. It was created as a collection of single colors for the industrial consumer market (the military, railways, postal service, and fire departments).

A knowledge of color contrasts contributes decisively to predicting color effect appropriately and to implementing a design objective. When combining colors, it is often effective to use several different contrasts, which arise when there are clear differences between two or more colors. Contrast effects exist between objective color properties, a well as between subjective color effects.

A chromatic-achromatic contrast results when chromatic and achromatic colors come together. Chromatic, very pure and highly saturated colors, when interacting with achromatic colors, generate intense impressions and spontaneously stimulate attention. The degree of prominence of chromatic - achromatic contrasts depends on the intensity of hue and on brightness contrast. In a color combination, white weakens, and black increases, a color’s luminosity. The polarity between highly intense hues and achromatic colors plays an important role as a signal in the artificial world of signs, such as pictograms. Chromatic-achromatic contrast is a principle widely used in interior design. White and gray nuances are particularly applied as a neutralizing element and used in association with chromatic hues.

CHROMATIC CONTRAST

Chromatic contrast results from combining chromatic colors. It is most clearly apparent when three or more pure-hued, highly saturated colors come together. The less similar the hues are, the more pronounced and stronger the effect of the contrast is. The greatest possible dissimilarity, and therefore the most pronounced contrast, results from combinations that are located far apart from each other on the color circle, such as yellow, red, and blue. Chromatic contrasts using pure colors are very striking, vibrant, and powerful.They attract attention. In interior design, especially in spaces where people spend large amounts of time, chromatic contrasts should be used sparingly, for example to place emphases. Overstimulation caused by too harsh a contrast has adverse effects on the organism.

COMPLEMENTARY CONTRAST

Complementary contrast can be seen where there is a relationship between two colors that are as different as possible. Each color has only one complement. The relationship between complementary colors can be most clearly perceived in pure and highly saturated colors. They are located diametrically opposite one another on a color wheel and produce a neutral gray when mixed. Every complementary pair has its own special features. Yellow–violet for instance is not only a complementary contrast, but also the strongest light-dark contrast; orange–blue also is the most pronounced cold-warm contrast. Complementary contrast in reduced nuances is suitable for a balanced interior design; it precludes monotonous spatial effect and color experience.

INTENSITY CONTRAST

This describes the contrasting of colors with different saturation. Its effect is strongest when small amounts of pure color are placed as an accent between large areas of extended, muted colors. The individual color becomes an important element in the interaction between colors, and arouses particular attention. In a spatial context, intensity contrast is a good instrument for color dominance, subdominance, or accent. One particular form of intensity contrast is the nuance contrast mentioned above.

QUANTITY CONTRAST

Quantity contrast refers to the proportional relationship of colors and their interaction. Very different effects can be created if the proportions of colors in a combination are modified. For this reason, quantity contrast also plays an important role in interior design. Color proportions in spaces contribute decisively to the spatial impression and thus to spatial effect.

FLICKER CONTRAST

If intense colors with the same degree of brightness or darkness are applied to a wall, a “flicker” contrast will often occur. If we look at this for too long, a confusing overstimulation will develop. Flicker contrast can be avoided by eliminating an intense color by darkening or lightening it. A flicker contrast is evidence that a sensible contrast between figure and ground was not considered. develop. Flicker contrast can be avoided by eliminating an intense color by darkening or lightening it. A flicker contrast is evidence that a sensible contrast between figure and ground was not considered.

COLD - WARM CONTRAST

If we take the color wheel as a reference, some colors are considered cool or warm in the subjective psychological response to them. For example, red-orange will be classified as the warmest color, and blue-green as the coldest. Generally the colors yellow, yellow-orange, orange, red-orange, red and some red-violets are considered warm, whereas yellow-green, green, blue-green, blue, blue-violet are perceived as cold (although some blues are considered warm, according to the material on which they appear).

These diverse impressions show the versatility in the expressive and psychological effects of space.They also contain elements that suggest distance, thus becoming a medium for representing plastic and perspective effects.

SIMULTANEUOS CONTRAST

Simultaneous contrast shows the simultaneous, reciprocal and lasting impact of colors in relation to their color environment. The same colors look different when they appear on different-colored backgrounds or in different environments. This variance is caused by reflection. The perceivable changes do not really exist – they are a product of the viewer’s color sensation. This can affect hue as well as brightness and saturation.

SUCCESSIVE CONTRAST

Successive contrast is the physiological prerequisite for simultaneous contrast. If a color stimulus is perceived for a certain amount of time, an after-image will appear in its complementary color (physiological complementary color). This phenomenon can be demonstrated in the following manner: if you look at the center of a red surface until your eye tires, and then look at a white surface, the physiological complementary color will appear, in this case, a faint green. This natural human disposition shows that all color perception is relative. Every color is subjective to its surrounding color. In the figure below, you can test for yourself the after-image that appears following a color stimulus. Look at one of the central colors, for example yellow. Cover the other colors. Focus on the color surface and after some time, focus equally on the black or white surface next to it.You will generally perceive a color that will emerge independently of the projection surface’s color or degree of brightness.