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The Importance of Colour in Atmosphere

Characterisation
Nolle VON WYL,
1
Josef STTERLIN

1
Faculty of Design, University of Art, Braunschweig and
Dept. Interior Design & Scenography, Academy of Art and Design, Basel
ABSTRACT
The perception of atmosphere is a function of various dimensions, like colour,
illumination, surface, sound, odour, temperature as well as room structure, where colour is
one of the key factors. Colour is a natural phenomenon and there are various categories and
systems available describing quality and quantity of colour. In the work presented here the
perception of colour on the atmospheric quality of a landscape has been analysed in a
longitudinal setting. Parameters of the colour space were correlated with psychometric
dimensions (human perception). An analytical tool has been used which was developed in
an earlier design research project allowing the characterisation of atmosphere with six
independent dimensions. Two test candidates did observe bi-weekly over a period of a year
from a fixed position a specific view into nature. The natural change of light and colours
through the seasons and different weather conditions led to a continuous change of the
observed environmental situation. The result of this research demonstrates an unexpected
correlation between colour attributes and their perception, especially relating to the
opulence of the colour space. The primary attribute was the complexity of the colour
variance and not the colour saturation.
1. INTRODUCTION
Along with technological progress the aesthetical sentiments and human ideals are
changing. Today it seems to be important that the perception of scenes is intensifying our
existence. (Bhme 1993) This is in particular important for the perception of architecture
that is experienced with its integrated material and comprised spiritual essence. (Pallasmaa
2012) Atmospheric attributes can be e.g. sound, odour, haptic, luminance and colour.
Today we would speak of an atmospheric effect. Colours communicate to space a
certain mood. (Bhme 2010)
Today there is evidence that colour and light has psychological and physical effects,
however many question remain still unanswered. (Gilliam 1988, van Hagen 2009)
What is of interest to us in this investigation is colour in relation to the perception of
atmosphere. This perception starts with objective elements like the excitation of the
receptors and ends individual subjective emphasis. On the other hand there is high cultural
concordance, where designer and architects can rely on. But the amount of terms for the
characterisation of atmosphere is small. Therefore it seems to be important to further
investigate the objective description of product appearances. (Blijlevens 2009) This can be
helpful for the communication between designer/ architect and users. In this study an
attempt is made to decipher the complexity of perception of atmosphere by investigating
the influence of colour. As analytical tool the model according to Findeli, von Wyl and
Stterlin has been used. (Findeli 2012) For colour characterisation the model was already
tested in laboratory setting (von Wyl private communication). In this study the model was

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amended for use in the exterior space and the correlation between colour and the six
atmosphere dimensions has been tested.
2. METHODS AND STRATEGY
The approach is practice oriented and shall lead to answers pertinent to design relevant
solutions. Methods of social science and phenomenology as well as design instruments
have been used. The analytical tool was used as described by Findeli but the terms (38
descriptors) were adapted for the description of a landscape. 5 terms of the initial list were
deleted and 25 added resulting in a questionaire of 63 terms (Table 1). The six dimensions
cosiness, liveliness, grandness, openness, dispassion and emotional security to characterise
atmosphere remained unchanged.
Table 1. Terms of questionnaire.

Kontaktfrdend (connect)
Gemtlich (confortable)
Befreiend ( librating)
berraschend (surprising)
Gastfreundlich (hospitable)
Harmonisch (harmonically)
Deprimierend (depressing)
Geheimnisvoll (mystical)
Surrealistisch (surrealistic)
Transzendental(transcendental)
Beklemmend (disturbing)
Aussergewhnlich (dilly)
Bengstigend (avesome)

Warm (warm)
Behaglich (cosy)
Formell (formal)
Natrlich (natural)
Anregend (brisk)
Intim (intimate)
Nchtern (sober)
Korrekt (accurate)
Verspielt (coltish)
Prchtig (glorious)
Dster (dusky)
Simpel (simplistic)
Klar (clear)

Schockierend (shocking)
Abstossend (abhorrent)
Funktional (functional)
Dynamisch (dynamic)
Angenehm (pleasant)
Beschtzend (protective)
Gepflegt (cultivated)
Stimulierend (excitatory)
Bedrckend (oppressive)
Traumartig (oneiric)
Schn (beautiful)
Unheimlich (eerily)
Exotisch (exotic)

Sakral ( sacral)
Lebendig (animate)
Frhlich ((brightly)
Magisch (magic)
Ruhig (quiet)
Kraftvoll (poverful)
Friedlich (peaceful
Irritierend (vexing)
Lustvoll (relishing)
Heiter (blithe)
Rein (pure)
Lauschig (snug)


Seelenlos (soulless)
Lhmend (paralyzing)
Zauberhaft (enchanting)
Mchtig (abundant)
Romantisch (romantic)
Knstlich (artificial)
Bedeutsam (significant)
Festlich (feastful)
Schummrig (dimly)
Trostlos (desolate)
Wild (wild)
Kalt (cool)


In preparation of the observations place and settings has been determined. Aim was to
find a place where over the course of a year the only expected changes related to the
weather and season. Finally a countryside has been selected with view towards a lake and
mountains and grassland and forest in the foreground. Analogue to a eye-tracking method
ten focus points within the landscape view have been selected based on the view directions
of the two test persons. The focus points were transcribed onto a photo of this view for the
subsequent colour determination.
Two test persons did observe about every two weeks over a period of a year a specific
the landscape from the predetermined place in the morning with a total of 23. A photo was
taken at the beginning of each observation. Later the photography was transferred onto a
Mac Book. At the predetermined ten focus points the CMYK values were taken in
InDesign. Two values were calculated to characterise each photo: a) average C, M, Y and
K value across the ten focus points called Saturation, b) the corresponding standard
deviations for each of the four colour values, i.e. the complexity, called Variance.
Following a 3-minute observation period the questionnaire had been completed. For
each observation the perception of the atmosphere of the test persons was calculated
resulting in one value for each of the six dimensions.
The correlation coefficient between Saturation (each CMYK value) or Variance (each
CMYK value) respectively and each of the six dimension values was calculated according
Bravais-Pearson. (Bortz 1993)

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3. RESULTS
Table 2 shows the correlation coefficient between Saturation or Variance and each of the
dimensions describing the perception of the atmosphere. Saturation was significantly
correlated between Cyan and the dimension grandness. Variance of Yellow was
signifcantly correlated with five of the 6 dimensions, Magenta with 4, Cyan with two and
Black with one.
Table 2. Correlation coefficient, significant values in bold (! = 0.05, two side testing)
Dimensionen der atmosphrischen Wirkung (Variance)

1 Behaglichkeit
(cosiness)
2 Lebendigkeit
(livelivness)
3 Erhabenheit
(grandness)
4 Offenheit
(openess)
5 Sachlichkeit
(dispassion)
6
Geborgenheit
(em. security)
S
a
t
u
r
a
t
i
o
n
Cyan C 0.15 0.14 0.36 0.00 -0.01 0.15
Magenta M -0.11 -0.01 0.14 -0.17 0.05 -0.08
Yellow Y 0.07 0.16 0.23 0.05 0.05 0.07
Black K 0.06 0.13 0.23 0.07 0.15 0.06
V
a
r
i
a
n
c
e

Cyan C 0.24 0.22 0.35 0.17 0.05 0.31
Magenta M 0.33 0.45 0.42 0.23 -0.12 0.39
Yellow Y 0.41 0.44 0.42 0.30 -0.04 0.36
Black K 0.17 0.26 0.37 0.13 0.08 0.17

Each of the six dimensions correlates differently with Variance or Saturation.
Grandness correlates positively with the Variance of all four CMYK values, Emotional
Security correlates positively with the Variance of CMY, whereas cosiness and liveliness
correlate with M and Y. Openness does correlate only with the Variance of Y. Dispassion
has no significant correlation.
Figure 1 shows four representative observations. The line diagram below the picture
shows the ten focus points on the x-axes (starting at the top left) and their respective
variance on the y-axes. The net diagram shows the value of each of the six atmospheric
perception dimensions (1 = cosiness at the top, 2 6 following clockwise) at the respective
observation. The positions for colour extraction are shown in the first picture.

Figure 1: Variance and perception diagram for four representative observations.
4. DISCUSSION AND CONCLUSIONS
Overall the data demonstrate a positive correlation between Colour Variance, i.e. the
complexity, and the perception of space atmosphere whereas the Colour Saturation seems
to be of limited importance. Of the six dimensions grandness was most determined through
the complexity of light and also through the saturation of Cyan. In contrary the dimension

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dispassion did not at all correlate with the quality of light but it might well be determined
by other attributes (e.g. structure). The variance of the colour yellow, positively correlating
with five dimensions, was clearly the most important. It is interesting to mention that
Goethe did characterise yellow as a colour has a warming effect. (van Biema 1997)
The study has its limitations. Firstly the small number of test persons, secondly the
colour analysis within the CMYK colour space opposed to the larger LAB colour space.
But the results are interesting for hypothesis generation and warrant further investigation.
Not only will it be interesting to see whether the positive correlation of colour complexity
with perception of atmosphere can be confirmed. Also the influence of other sensations on
the perception of atmosphere shall be tested with the analytical model. The intuition of
designers and architects could be enriched through substantiated understanding of how the
character of atmosphere is determined.
ACKNOWLEDGEMENTS
A. Findely contributed to the concept of this study and M. Urmi to the observations. The
manuscript was reviewed by W. Beck.
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Address: Nolle von Wyl, Department of Interior Design & Scenography
Academy of Art and Design, Spitalstrasse 8, CH 4056 Basel
E-mails: noelle.vonwyl@fhnw.ch, info@noelle.vonwyl.ch