Blog 9: COLOUR and SPACE: An Investigation of Three-Dimensionality Dr D Smith 2004 IDEA Journal Web. 103-116 Web. 4th November
In this article Smith writes about the difficulties of teaching students about using colour in real interiors. The issues arise because when you experience colour in two dimensions this experience does not easily translate to a three dimensional context of a real interior, that is, the spatial context where colour is applied has a major impact on the way it is perceived.
“ Students of design often have difficulty in extrapolating theoretical or studio exercises in colour to the design of three dimensional space. This occurs because ‘real’ spaces are not able to be readily tested. Generally the principles can only be applied to representations of spaces. Although analyses of existing environments, drawing the designs for new environments or interiors, making working models, or developing presentation models can be incorporated into the coursework, the level of engagement with appropriately scaled or life size spaces is very limited for a student.” (Smith 103)
Smith describes how the work of Mark Rothko, Bridget Riley, Claude Monet and Wassily Kandinsky can be used as valuable source of information for emerging designers.
“By referring to paintings (or more specifically a body of work by an artist) we are able to see how particular patterns or practices of colour use can potentiate the way that we experience three-dimensionality in the two dimensions.” (Smith 108)
She also describes an exercise that she undertook with students where they applied ideas about colour from an artist’s work.
“The research task is to investigate the light and colour theories of one artist or designer selected from a list provided. The group is required to identify who the artist/designer is, the period during which he/she worked, any group to which he/she belonged, typical examples of his/her body of work, and the principles of light and colour that are being applied.
Having completed the research and presented a seminar, each student creates a suspended ‘installation’. This requires the student to identify the key principle/s of the artist’s work that they wish to explore and demonstrate.” (Smith 109)
I think that Smith raises an interesting idea. I have had the experience that a colour scheme that looks good with colour chips may not work at all when it is used to paint a room. The proportions of the various colours matter a lot and the lighting of a room can make the same colour on different walls look quite different. Even combining colours into pleasing schemes is much more difficult than it first seems, in my experience.
I like Smith’s idea that a 3D space can be analysed by simplifying it into a 2D colour field. I also like the idea that the colour palette used by great artists has a lot to teach us about how colours work together. Analysis of paintings can show how the colour of some objects causes them to recede and others to “pop”.
I have applied these ideas to thinking about how the work of Mondrian has been used in the context of interior design. Mondrian’s colour palette of primary red, primary blue and primary yellow has been used in furniture design, interior design and in fashion. In addition, his way of framing spaces (the black outline around a white space) has been used extensively in interiors.
Image: Home Magazine 0ct 2007 Image http://creativeinfluences.
blogspot.com/2011/06/pietmondrian.html
When trying to analyse what I found so pleasing about this interior described in Home magazine.(above). I realised that it reminded me of a Mondrian painting.
In the case of furniture design, Charles and Rae Eames have made extensive use of Mondrian style colours and composition.
Photo Source: http://www.furniturefashion.com/2009/05/11/mid-century_eames_storage_unit_for_3400.html
The colour palette has also been used in interior design. The following is an image from the Bauhaus hotel in Zurich.
Image Source: www. hotelrigihof.hotelszurich.it
This journal reading has taught me about the value of studying paintings to a applying a 3D context and how to analyse an interior as a field of colour.
Work Cited
COLOUR and SPACE: An Investigation of Three-Dimensionality
Dr D Smith 2004 IDEA Journal Web. 103-116 Web. 4th November 2011
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