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The Making of an Exterior Color Palette - Page 2
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For many, color is generally viewed as a decorative tool that normally falls in line with the trends of the season. Such an approach, though popular, falls short of the functional purpose of color and ought to be revisited before application. What follows is a step-by-step procedure of how a professional color designer would go about the color palette selection process.
The first stage involves understanding the environment for which the product is to be used. One could look at this approach from a practical example we can all relate to. Imagine attempting to host a dinner banquet for guests whose eating preferences and habits you know nothing about. There is always a possibility that there may be vegetarians, nut-allergy sufferers or colics on your list of invited guests. How then can you plan your menu without having all the vital information needed to plan your feast? On the other hand, would it not be impractical for you to include all possible dietary requirements in the banquet?
Understanding the environment involves taking into consideration the geographic context for which the palette is intended. There is obviously a difference between palettes meant for use in northern Europe compared to those meant for use in southern Africa. This not only comprises cultural factors and reactions to color that individuals may have, but also includes the role that natural light plays on the appearance of any given color. Light intensity does vary owing to season, geography and latitude, implying for example that a color of low chromatic intensity as viewed in Scandinavia may appear even paler when viewed under the bright intensity of the African midday sun. This is an error often committed by many who may not be aware of the complexity and dynamics surrounding color. It is most evident whenever so-called ‘popular, western trend colors’ are brought into a foreign context for application.
Understanding the environment usually entails observing the architectural style of the community, as well as embarking on a tour of the natural terrain for which the palette is meant to be used. Observations of the landform and its features should be closely noted, with particular attention to color details that Mother Nature has abundantly splashed on her works of art. Take note of the color of the earth, the natural vegetation, rock formations, water features and all else that encapsulate the geographic terrain. Photographs and samples of physical substrates such as sand, rocks, pebbles, leaves, foliage specimens, etc. should be gathered to create a reference point for the palette’s specification.
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Once this has been done and all other above-mentioned factors are registered, the color selection process can then officially begin. The designer will have to decide whether their design objective will be for their color palette to blend in with the geographical setting or for it to stand out. Take for example an architectural community set in the centre of an opaque green landscape. Are you going to add more forest greens to your palette or create some contrast colors that will work best against the vegetated background? Colors for the palette should therefore be chosen to address the design brief the color designer has set apart in their palette’s objective. Remember too that color creates mood and reflects emotional appeal to the on-lookers and community in general. Thus, the three main factors of neuropsychological, psychosomatic and visual ergonomic effects discussed earlier are key in determining the selection.
As a next step, some designers will go on to formulate their own colors in the laboratory, whilst others may choose to make use of their preferred color definition system (e.g. Munsell, Natural Color System (NCS), etc.; these each house an array of pre-specified colors). Color atlases and color chip references are always available to facilitate the process. However there should always be a serious consideration of how well the colors chosen will harmonize and blend with each other. The visual appeal of the palette is essential and colors should always flow and be harmonious when viewed.
Once the colors have been chosen, it is important to produce sample paint colors and brush them out on experimental exterior walls. This exercise allows the designer to observe the chosen colors under natural light and at different times of the day. Color can change its appearance over the course of the day as a result of light, surroundings and shadow effects. Thereafter, the chosen colors can be adjusted to modify the hue value, lightness or chromatic intensity where necessary.
A pilot survey can then be conducted to test consumer response to the new palette before its launch. Comments should always be considered and final color modifications made where relevant.
At this point in time, the color palette is ready to be released and careful liaising with the graphics team should be done to ensure the final presentation of the palette is successfully accomplished. The theme of the palette should be clear from the onset and be reflected in the artistic and graphic presentation of the display, with specific attention given to color accuracy during the printing/chip-mounting process.
The palette is ready to be released, and the color designer’s only remaining concern is that the paint colors that were so meticulously chosen be tinted and applied correctly to ensure maximum color impact!
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Photos by Ferdinand Bronkhorst, reproduced with kind permission
Helen Gurura has a color psychology background, with a postgraduate MPhil. research thesis entitled The Effect of Background on Color Harmony obtained from the University of Derby, UK. She is also a member of The International Association of Color Consultants and Designers, North America (IACCNA) and the Society of Dyers and Colourists, Bradford, UK.
Munsell and Natural Color System (NCS) are trademarks of their respective owners