The human dimension of colour, by Costa Alonso

Transcription

1 The human dimension of colour, by Costa Alonso Dublin, 2014

2 The human dimension of colour Colour and culture Some associations with colour are purely cultural, as they can have a different meaning depending of the context. White represents purity in Western cultures, but it is a symbol of mourning in India. Colours can also have a meaning that can lose original symbolism overtime, like the association of yellow and treachery in the Middle-Ages. Associative or impersonal colours suggest non-cultural ideas, such as the green, related to environment; blue, associated with water; and red, linked with passion. The "personal relationship" of colour also enters into the unconscious memory, as a long forgotten association with a colour can create an immediate colour dislike. Early childhood experiences of fears of darkness can be considered as universal experiences in which black has played a major role in colour preferences. Connections between hues and abstractions have often been made, like blue and loyalty or yellow and cowardice. However, these historic connections vary from culture to culture. Symbolic associations can only be understood by members of the same cultural community sharing similar experiences. In Western cultures white symbolizes purity, while in India it represents mourning. This is extremely important for designers to know because without an awareness of the cultural significance of a particular colour, we risk offending our entire target audience. This association with temperature probably has its roots in the physical relationship to fire, sun and desert (warmth) and ice, shadows and deep water (coolness). Warm colours link to elemental heat sources, but do not "literally" refer to them as symbols would. Colour meaning seems to originate from a psychological reaction to physical experience. These universal colour analogues (warm and cool) are probably rooted in human biological needs connected with attributes like health and survival, or pleasure and pain. As we are diurnal creatures, subdued lighting can evoke strong emotions. This is due to the fact that as without vision we are vulnerable, and this feeling provokes apprehension. Conversely, the clear colours viewed in plain day light in good weather conditions elevate our sense of wellbeing and safety. The human dimension of colour, Costa Alonso 1

3 The effect of specific colours can also be attributed to our physical experiences, as dark colours can be depressing and bright colours can have an uplifting effect. However, we should not draw simplistic conclusions about these conjectures: darkness can also be rich and invigorating when using the dark coffee hues and bright orange can seem eccentric. Our responses to colour are not just biological, they are also influenced by colour associations from our culture. The automatic association of red with "stop" and green with "go" prevalent in the Western industrial culture is absent in China. Likewise, the black is used in the West to symbolize a period of mourning, whereas in Egypt it is used to indicate the period of gestation, when seeds are sprouting beneath the earth. Therefore black takes a complete different connotation in the Arabic culture, as it is related to rebirth, rather than the end of life. In China the colour for mourning is white, as it symbolises the humility of the undyed cloth. In some Native American cultures Memorial service of Mao Zedong, (1976). white is seen as the colour of winter, purification and renewal. In some cultures the disdain for colour has been seen as a mark of distinction. The taste for black in clothing has been seen traditionally as a prerogative of wealth and nobility since Renaissance time. Today, black is still considered as part of the dress-code for The human dimension of colour, Costa Alonso 2

4 many special occasions, like parties or celebrations, where the "Black Tie" request calls for formal attire. On the other hand, when Van Gogh created a collection with his personal colourful versions of the subtle colour harmonies of Japanese prints, the reception was not favourable, as the work was regarded as vulgar by the public of his generation. Nowadays, one of the main achievements of the experimental psychology in Van Gogh is the love for strong and saturated primary colours. This technique was not to be reserved for primitive cultures or children, but it was also intended for educated adults. This psychological approach was in line with the new technological developments in bright synthetic pigments and dyes. Both tendencies laid the foundation of the expanding interest in contrasting hues, marking the visual expression of the 20th century Western culture, characterised as the emancipation of colour in the modern world. La Courtisane, Vincent Van Gogh, (1887) Physiological aspects of colour Psychological literature is full of attempts to determine how colours affect human health and behaviour: bright warm colours seem to contribute to activity and mental alertness and therefore are increasingly being used in schools. On the other hand, duller cool colours tend to sedate, and therefore are more used in mental hospitals or centres hosting behaviourally disordered people. We should note that the physiological colour responses are complex, as the variations of a hue can have major impact in people. One shade of a colour may be calming, while another may be stimulating: Mystics find that certain blue-violets contribute to a very high spiritual state, whereas for college students this colour makes them feel sad or tired. Colour blindness, or the inability to distinguish one or more colours, as well as age or illness related degenerative vision problems are aspects to be considered by designers. Elderly people see colours different, as they become dimmer and lower in resolution: a The human dimension of colour, Costa Alonso 3

5 moderately bright yellow may appear brownish, and dimmer blues will appear black 1. Therefore, when designing for elderly people, bright colours should be used with especially high brightness contrasts. Architectural Nursing Home Project in Hofmeisterstraße. Hainburg, Austria, designed Kronaus Kinzelbach Architects, Colours, as well as light, darkness and light can influence the individual state of mind. As Itten writes, "colours are forces, radiant energies that affect us positively or negatively, whether we are aware of it or not". Just as specific hues have different associations to emotional effects, so do the dimensions of colour: value (light of dark colors), intensity (strong or faint colors) or purity of a color) and temperature (warm or cool colors). Dark compositions give feelings of night, mystery and fear. They can increase an object size, implying space and a feeling of infinity. Light colours, however, imply clarity and optimism. High intensities in chroma attract and offer feelings of activity. Warm colours like red, oranges and yellows stimulate the senses, can raise blood pressure and increase body temperature, whereas cool colours, such as blues and greens, produce calm and can have a relaxing effect. Warm colours advance objects because they seem nearer than they actually are, whereas cool colours retreat into the distance. The human dimension of colour, Costa Alonso 4