Colour theory: the basics
COLOUR theory in its entirety can be complicated but there are a few basic principles to help steer you in the right direction, explains Patrick O’donnell, brand ambassador for Farrow & Ball.
‘Red is linked with passion, energy and action.
The colour is also associated with increasing our metabolism, hence its popularity in dining rooms but at the darker end, especially a reddish-brown shade, it can look elegant and dramatic for a bedroom.
‘Blue has many emotional attributes: at the paler end, tranquillity and calm, to intelligence at the darker end. It is considered a restful and sympathetic colour, so a paler blue is ideal for a bedroom, but I’d err towards darker blues for an office, living room or kitchen.
‘Yellow (orange shares similar characteristics) is the colour of energy, happiness and optimism and therefore brilliant for either a kitchen or an office but try and avoid in a bedroom as this is a space for rest.
‘Green is a joy to use: the primary colour of nature. It is the perfect colour to deliver calm and serenity and therefore has the flexibility to be applied in every room in the home but is especially great for bedrooms and sitting rooms. It symbolises renewal and growth.
‘White represents purity, innocence and new beginnings, as well as cleanliness and clarity. It can be used everywhere in the home but is very successful in the bathroom and any room where you want to create order and with little distraction. It is also an ideal foil for a well-curated room of art and furniture.’
Another key factor is light, and the best way to address this is by considering the aspect of the room. ‘As a general rule, to lighten up a north-facing room, avoid anything with a green or grey base or don’t fight it and paint it dark which creates a cosy and cocooning feel,’ says Patrick. Meanwhile, using soft, pale tones is a great way to maximise the feeling of light and space in a south-facing room. Light in west-facing spaces is cooler in the morning and brighter in the afternoon so warm tones will work well, while light blues and greens can have a calming effect on east-facing rooms.
Designers also talk about another element when using colour: contrast. As a result, don’t be tempted to lean on analogous colours – those that sit side-by-side on the colour wheel – the result will be harmonious but might lack in vitality. Equally, a scheme based on complementary colours will result in maximum contrast but will need to be softened by neutrals.
Another approach is to begin with what is already decided or what you can’t change, says interior designer and paint specialist Edward Bulmer: ‘it might be a wood floor or an old fireplace, for example. Then base your tonal choices on the colour of these elements – effectively, warm or cool. If you get the tonality right, you will then have a wide variety of colours that will work and so choice comes down to personal preference or other elements of your scheme – like fabrics.’
For classic English country house decorating, it’s the muddy colours that I’m drawn to – those that John Fowler had made up by Christopher Wall of the National Trust, the archive which was eventually given to Tom Helme of Farrow & Ball,’ says Emma Burns, director, Sibyl Colefax & John Fowler. ‘They are colours with a lot of dirt in them which results in warm, sympathetic and flattering shades for people to live in.’
‘I’ve always adored blues and greens, the colours of nature,’ says Lulu Lytle of Soane Britain. ‘Contrary to the old saying, I think they work together beautifully. As a child I was exposed to lots of pattern – all our bedrooms were wallpapered – and colour. My mother, who once said, “raspberry’s just a neutral”, used deep pinks around the home and clearly left an impression, since they feature strongly in the Soane collections.’ →