Trendimi’s Colour Guide trendi

Influence with clever use of colour

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INDEX OF CONTENTS

1 Impact of Colour
1.1 Colour evokes emotion – use it

2 Understand colour
2.1 Colour wheel
2.2 Colour chart

3 Let’s get technical – hue, value and chroma

4. Warm or cool?

5 Use colour combinations effectively

5.1 Harmonious combinations:
5.2 Striking combinations

6 Meaning of colours

7 Using colour as a make-up artist, hair stylist or nail artist

7.1 Why getting the tones, tints and shades right is everything!
7.2 Check your client’s personal tones
7.3 Seasons colour palettes

8 Using colour as a stylist or personal shopper

8.1 How colours can affect appearance

9 Using colour as an Event Planner

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Influence with clever use of colour

Colour is a universal language that infiltrates every area of our lives. It can
impact in both subtle and powerful ways, depending on its use. Learn to
speak the language of colour fluently and use it skilfully to achieve different
kinds of effects.

1. Impact of Colour

Mark Rothko is one of the most famous American post war artists. He was
one of a group of painters known as Abstract Expressionists. During the
1950s and 60s he became famous for his paintings that used colour to evoke
a range of emotions.

Rothko’s work was influenced by

mythology and by psychology, par-
ticularly the writings of Freud and
Jung. His paintings were completely
abstract- not depicting anything mate-
rial – but, using large rectangles of col-
our on more colour, they worked with
proportion and layering and each cap-
tured different moods and effects in
viewers. He was the first artist to bring
such acknowledgement and accept-
ance that colour has a profound effect
on the psyche and the emotions.

1.1Colour evokes emotion – use it

As studies have found that most deci-
sions are influenced 80% by emotion
and 20% by intellect or reasoning and colour has such an influential role
in evoking emotion, it’s really worthwhile paying attention to the choice of
colours in many aspects of life, especially in your business.

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2. Understand colour

One of the biggest and first scientific discoveries into our understanding of
colour was by Sir Isaac Newton in the 17th century. He experimented with
light rays and found that when sunlight is directed through a prism it refracts
into a range of colours: red, orange, yellow, green, blue, indigo and violet.
Each colour has a distinctive wavelength and range.

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2.1 Colour wheel

When designers are working with colour, they use a colour wheel as a refer-
ence tool that helps to understand the relationships of colour. A wheel can
contain 6, 12, 24, 48 or more

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Yellow
Yellow-Orange Yellow-Green

Red-Orange Green

Orange Blue-Green

Red Blue

Blue-Violet
Red-Violet
Violet

colours or hues. The most commonly used contains 12, like this one.

The three primary colours are red, yellow and blue. Mixing these, two at
a time, produces the secondary colours: green, violet and orange. Mixing
each of these six with its neighbours on the wheel produces another six,
combinations of the primary and secondary colours – the tertiary colours.

The wheel is used to clarify colour families, combinations, contrasts and

harmonies.

2.2. Colour chart

To choose the exact tones and shades for an individual situation will need a
larger guide containing thousands of colours, like this colour chart.

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3. Let’s get technical – hue, value and chroma

At the beginning of the 20th century, American colour theorist Albert Mun-
sell created a system for giving definition to three dimensions of colour
– hue, value and chroma. This language and method of measuring colour
makes it clear and easy to understand the personality of colours and helps
to make confident choices.

HUE
The hueis the pure colour like red, yellow, blue, green, violet and orange.
Hues can be blended in infinite ways to produce an endless number of hues.

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VALUE
When you add either white, black or grey to a hue or colour, this changes the
amount of light the colour reflects or absorbs. White lightens, black darkens.
The lightness or darkness of a colour is called the valueand indicates how far
from either black or white the colour is.Lighter colours, closer to white, have
a higher value than darker colours which are closer to black.

Pure colours also have different values, for example yellow has a higher val-
ue as it’s the closest to white. Violet has a lower value as it’s closer to black.

To further help to distinguish the values of colours, they can be divided into
three categories:

1. Tint: Adding white to the hue produces a tint, circle 1 in this wheel.
2. Tone: Adding grey to the hue produces a tone, circle 2 in this wheel.
3. Shade: Adding black to the hue produces a shade, circle 3 in this wheel.

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Items, garments or furniture in bright, intense colours will appear larger
than the same item in a duller shade. Things of higher value, that is lighter
and closer to white, will appear to expand and advance. Things of lower val-
ue, that is darker and closer to black, will appear to recede or reduce in size.

CHROMA
Chroma describes the purity, brightness or intensity of a colour. Pure hues,
the outer circle of tabs on the colour wheel, have the maximum chroma.
Colours with high chroma are described as bright, vivid, bold, rich and bril-
liant. The more a colour is changed by adding white, black or grey, the more
it becomes muted, soft, misty, dull, pale, dark or drab.

4. Warm or cool?

It’s not that a colour has a measurable temperature but most people are
sensitive to the cool or warm feeling they get in the presence of particular
colours. The warmth or coolness of a colour is determined by the percent-
age of red or blue hues is contains. Generally, blues, greens and purples are
considered cool and reds, oranges and yellows warm.

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Of course, each individual hue will have varying degrees of intensity and
value which contribute to the effect of its ‘temperature’.

Warmth or coolness also have a spacial effect. Cooler colours tend to feel like
they are receding, making a space seem larger or more open, warm colours
tend to feel like they are advancing, making a space seem smaller or cosier.
Again, the value and intensity of the colour will have a part to play in the
special effect.

When considering either a warm or cool colour, take into account the vary-
ing tones, tints and shades in that colour family and also consider the the
social and psychological effects of different colours. See section 6, Meaning
of colours.

5. Using colour combinations effectively

Once you know how to work with colour, you can use it to create either har-
monious or striking combinations, depending on what you’d like to achieve.

5.1 Harmonious combinations:

Colours of different tones, tints or shades from the same family can create
a pleasing, easy blend. This is called a monochromatic combination.

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Another harmonious blend is to combine colours that are grouped together

on the colour wheel. This is called an analogous combination.

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5.2 Striking combinations

When you combine colours that sit directly opposite each other on the
colour wheel you create striking combinations that are complimentary to each
other.

You can also create a wider choice of striking combinations by using a double
set of colour families that sit opposite and next to each other on the wheel.

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Another striking combination is to choose from a triad of colours – they sit

equally spaced from each other in a triangle on the wheel.

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Here you can see some groupings of complimentary and harmonious colours:

Hue Complimentary colours Harmonious colours

(opposite) (next to)

Sky Blue Yellow, orange , lime Emerald green, purple, pink

Egg Yellow Blue, purple, sea green Lime green, orange, pink

Bright Red Green, blue, emerald Orange, yellow, purple, blue,

sea green

Sea Green Red, pink, purple Yellow, blue, orange

Purple Green, aquamarine, orange, Blues, reds

yellow

6. Meaning of colours

Colours have distinct personalities, psychological effects and meaning. These

can vary according to culture.

RED
Red is the colour of energy, drive, excitement, passion and aggression. It’s
stimulating and draws attention. It stands out. Studies have found it can in-
crease blood pressure and pulse. It helps to inspire confidence, enthusiasm
and also a sense of strength and security.

Red is commonly used to signify danger but is also associated with life – the
colour of blood. It’s not a colour most people would choose to paint a child’s
bedroom but may be the perfect choice for a business logo.

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BLUE
Studies have shown blue to be overwhelmingly the favourite colour among
men and women.We’re surrounded by blue in nature – the sky, the oceans
and seas – so it’s no surprise than it has the effect of calming and sedating.

It gives a feeling of trustworthiness, dependability and reliability, making it

a very common choice for uniforms.

Blue is a cooling colour and is often used in places where the atmosphere
needs to be calm, cool and restful, like waiting rooms. This calming effect
can enhance focus and productivity. Be careful when choosing the particu-
lar shade or tone – the more intense blues can be quite cold. Blue is also
associated with communication.

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YELLOW
Yellow is the colour of optimism, cheerfulness and laughter. The presence of
yellow actually stimulates the release of serotonin, the feel good hormone.
It’s generally a positive, energetic and uplifting colour and can enhance crea-
tivity, memory and communication. If it’s too intense it can be a little fiery.

GREEN
We are surrounded by green in nature and as a result it has firmly taken its
place as the colour and symbol of all things natural and eco friendly. It’s also
accepted as a colour of peace, tranquillity and harmony.

The broad range of greens is almost always soothing and refreshing. For this
reason it’s often used in areas associated with healthcare. It has a relaxing
effect, both mentally and physically and can help reduce anxiety and allevi-
ate depression.

It can represent growth and good luck but also envy.

ORANGE
Orange is usually seen as a very expressive colour. People tend to either love
it or hate it. It’s a strong fiery colour, being close to red. It’s warm and fun.
It has a flamboyant personality and not one to choose when calmness is
needed. It’s more likely to be suited to socialisation and activity.

The energy of orange lends to ambition, energy and new directions. When
it’s toned down or tinted with white it can be reflective of colours in nature
and these shades give a more harmonious, peaceful feel, like peach, ter-
racotta and rusts.

PURPLE
A combination of red and blue, purple can have qualities of both – stimulat-
ing or calming. It has traditionally been connected with royalty, privilege and
wealth. It can be a favourite of people who are very creative or eccentric. It
has been shown to help brain activity when problem solving.

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Purple can give an air of mystery and wisdom. It’s often associated with spir-
ituality and some find it uplifting.

PINK
The closer to red a pink is, the more it will represent red’s qualities – ener-
getic and passionate. The vibrant, electric pinks are stimulating and exciting
but not as assertive and aggressive as red can be.

The misty, lighter pinks are definitely the colour of romance, softness and
femininity. The passion of red is diluted with white and tones down the ef-
fect to a calm, relaxed softness. There’s a delicate energy about pale pink
and this would not be a suitable choice for attending a job interview.

BROWN
Again, a colour of nature, brown represents reliability and stability. Earthy
colours are always calm and reassuring and brown can also represent friend-
ship and good relations. It’s soothing and natural. It gives a feeling of order
and wholesomeness. It’s a commonly used neutral colour, particularly in a
wide range of tints.

WHITE
Particularly in the western world, white signifies purity and cleanliness. As it
reflects every colour and absorbs none, it’s the perfect choice for the colour
of neutrality.

It can represent a blank canvas, a clean slate, new beginnings. It’s fresh and
non judgemental. It can also be sophisticated and creative.

GREY
Grey is a very popular neutral colour and often chosen as a backdrop to al-
low other colours, shapes and textures to be seen without distraction.

It’s often seen as denoting wisdom, dignity and authority, possibly because
of the connection to greying of hair due to ageing. It can be drab and dull but
also classic and sophisticated. It often represents knowledge and intellect.

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GREY

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BLACK
Black absorbs every colour and reflects none. It’s a very strong colour and
often gives an impression of power and authority. It can be associated with
evil and fear.

Absorbing all colours and showing none could also represent an unwilling-
ness to show personality, a hiding of oneself. This can give a restful feeling
to people who find it a strain to give too much of themselves and want to
be inconspicuous.

It’s often chosen as a night time colour and can be sophisticated and sleek.
It’s a contracting colour and is a popular choice in clothes as it tends to
reduce the appearance of size and outline.

7. Using colour as a make-up artist, hair stylist or nail artist

Using the correct colour palette is crucial when choosing make up, hair col-
our and nail colour. Shades that enhance tones and features help clients look
their absolute best. The wrong colours can drain the natural glow of a face.
An unsuitable palette won’t blend features harmoniously.

Everyone has a unique combination of tones – eye colour, hair colour and
skin tone. This means that on each person, some tones will look great and
lift the features. Other shades will do the opposite.

7.1 Why getting the tones, tints and shades right is everything!
• You need to know whether you’re choosing from a palette of ‘warm’ or
‘cool’ colours so you work with the natural palette of tones, not against
them.
• The right make up really does affect eye colour. Experiment and see!
• Wearing harmonious make up shades can help skin look smoother.
• Before recommending a hair colour to a client, identify whether you need
a warm or cool palette and then refine your choices further.
• The face portrays moods and feelings. Make up shades can contribute to
looking light and happy or stern and dull.

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• Hair colour can be made a friend or an enemy depending on your choice
of make-up shade on the face, eyes and lips.
• Nail colour should compliment make-up and hair shades to harmonise
the overall appearance.
• Complimentary and harmonising tones will help a face to look healthy
and sparkling.

7.2 Check your client’s personal tones

• To choose the colours that suit your client best, do a personal colour
analysis.
• You need to analyse your clients face in good, natural light. Outside is
ideal. The skin must be freshly cleansed and free of all products and make
up. Tie her hair back from her face.
• Put a white garment over her clothes to prevent what she’s wearing inter-
fering with her natural tones.
• If the tones are of yellow, green or gold, she has warm tones.
• If the tones are more pink, red or white, she has cool tones.
• If you’re unsure, here’s a trick: warm skin tones blend more harmoniously
with gold; cool tones blend best with silver.
• Cool and warm toned people can be further divided into the season’s
colours that suit them best;
1. Cool tones – summer or winter colours.
2. Warm tones – spring or autumn colours

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7.3 Season colour palettes

Winter

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“Winter’ skin” can be as pale as porcelain or an olive colour. The tones in

the face will be pink or blue. ‘Winter’ skinned people often have dark hair
and eyes. Asian people fall into this group, as well as Scandinavians with
blonde hair.

The colours that best suit winter skins are intense, rich colours such as black,
navy, red and pink. They can also wear light yellows or white. You should
avoid choosing beige, orange and gold.

Winter colour palettes:

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Autumn

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Autumn’ skins are warm and people who fall into this group have a golden
skin tone. Many red head and brunettes with brown eyes are in this group.
You’ll often see people with black or blonde hair with golden tones also.
Earth tones work well with this skin tone - camel, beige, khaki, orange, gold
or dark brown.

Avoid white and black, they will make autumn toned people look tired. Stay
away from pastels also.

Autumn colour palettes:

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Summer

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As ‘winter’ skin tones have dark hair, ‘summer’ skin tones usually have
blonde or light brown hair and pale eyes. The best colours for ‘summer’ skins
are pale yellow, purples and mauves and pastel shades. Avoid orange but, in
general, go for earth tones.

Summer colour palettes:

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Spring

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People with ‘spring’ skin tones have creamy white, peach or very pale skin.
Hair is either golden blonde, auburn or reddish-blonde. Eyes are usually blue
or green. Rosy cheeks and freckles are typical of the ‘spring’ group.

The difference between ‘autumn’ and ‘spring’ groups is usually the eye col-
our; ‘spring’ is lighter. Your best colours are soft peach, golden yellow, golden
brown, ivory, green and light blue. Some reds can also work well. Avoid dark
and muted tones like dark grey and black.

Spring colour palettes:

Once you’ve determined which season a client’s tones fit, you’ll find it easier
to choose the shades in make up, hair and nail colour that will make the
most of their appearance.

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8. Using colour as a stylist or personal shopper

Before you begin styling or shopping for a client (or for yourself) one of
the first things you need to do is to plan the correct range of colours you’ll
choose from. This is the aspect that probably has the most impact on overall
appearance and on whether your client will look amazing or underwhelm-
ing. Getting the colour harmony right will help anyone you work with look
great. People who remark on their great ‘look’ might not be able to put their
finger on what it is, but you’ll know the secrets!

Study sections 7.2 & 7.3 and apply these practices to clients to identify the
most suitable palette of shades you need to work with. As well as applying
the rules, use your common sense and observation and individualise a pal-
ette for each person. Even when someone generally falls into one season’s
palette, there can be exceptions to the colour rules – a shade or two from a
different palette could look well on her or some from her most suited sea-
son might not.

As an example of putting this into practice, pinks can be both warm and cool.
Warm pinks have a peachierundertone; cool pinks have a bluer undertone,
like a purplish pink. Greens can also be cool or warm. A warm green has a
more yellowish undertone; a cool green has a bluer undertone. Experiment
with subtle differences in tones to see which ones work best.

8.1 How colours can affect appearance:

• Wearing the wrong colours can be ageing.
• Choosing the right shades can help eye colour to stand out and sparkle.
• Some shades will have a slimming effect.
• The wrong shades can add an illusion of weight.
• Balancing colours can help people look more dynamic, brighter and posi-
tive.
• Colours that invite the hair tone to blend in enhance overall appearance.
• Shades that clash with the natural tones can make people look stressed
and unhealthy.

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9. Using colour as an Event Planner

There are many aspects of your business that can benefit from using colour
cleverly.

Examples – using colour in your event business

A.You’re meeting an important potential client, you are a bank manager or attending an interview.
How should you dress?
The colours you wear and also the colours you’re surrounded by at a meet-
ing have a sub conscious impact on you and your clients. Give yourself the
advantage of making that effect positive and productive. These points guide
you to which colours to make most noticeable, not worn top to toe. Combine
your predominant choice with harmonising shades.

• Dress to balance your own mood. Are you feeling anxious, down or tired?
Then wear lighter, brighter colours as they help lift your mood. Bear in
mind which season’s shades suit you and let your intuition guide you to
which particular one you need to help you feel lighter. Dark and neutral
colours could make it harder for you to feel more positive and energetic.
If, on the other hand, you’re feeling over excited, choose neutral or darker
shades for a calming effect.

• Are you meeting a male or female? Women tend to react more positively
to blue toned colours, like pure blues, pinks with blue undertones, blue-
reds, blue-greens. Men are more enlivened by colours with warmer, yel-
low undertones like a yellowish green, oranges and peaches.

• What’s your intended outcome from today’s meeting?

• If you want to build trust and credibility, choose blue.

• If you want to show how approachable and friendly you are, choose
green or tan.
• To show confidence, either blue or green is good, not too pale.
• Mid greens portray dependability.

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• Reds help you come across as assertive but be sure this is appropriate.
Red is a strong colour and can focus too much attention on you instead
of your client.
• To set a neutral stage, beige or grey won’t give any particular message,
allowing you to direct the meeting with your prepared content.
• Dark colours like navy and black are strong and show you’re in control.
This could work in your favour if your client is trying to decide between
you and a competitor. Lighter colours are less assertive but this may suit
introverted clients better.
• If you want to come across as inspiring or creative, a bright colour like
cerise will do the trick

The above points can actually be applied to most business meetings.

B. You’re planning a corporate event and will be attending group meetings. How can colour help
you make the right impression?
• You need to come across as being in control and authoritative so choose
darker colours like dark blue or dark grey.
• If you really need to be noticed or have something important to get
across, wear red.

C. You’re specialising in wedding planning. How can you use colour to attract clients?
• Romantic colours are the definite choice. They may be clichéd but, take
it from us, if you change to unconventional colours, you won’t appeal
to people with a wedding in mind! Choose peaches, pinks, creams and
white. If you’re choosing more than one colour, use your colour wheel
to decide what works.
• Softer, paler colours in your promotional material are inviting. They help
you seem approachable and understanding.
• If you’re setting up a stall at a bridal fair, use soft, misty fabric and light,
delicate shades.
• Fill your portfolio with sample invitations that use the typical colours
chosen by wedding couples, creams and whites, embellished with silver,
gold and pastels.

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