The first of these relationships was without doubt one of direct connection. If fire was red, then red was a quality of fire, and this was recognized by primitive people the world over.

The second type of color symbolism appears to depend not on direct connection but on association of ideas. For instance, black has often been connected in men’s minds with despair and death.

Finally, in a third type of symbolism the relation between the color and the idea is difficult to discover. Here the symbolism seems to be established by arbitrary convention only. An example of this is the use of white in China for mourning.

Among the early astrologers the sun was yellow; the moon was white; Mars, red; Mercury, neutral; Jupiter, blue; Venus, green; and Saturn, black. Each sign of the zodiac was also assigned its particular color.

Emotional Effect

Besides aesthetic purpose, the functional use of color may also have an emotional effect. It has been found from experience that shops and restaurants can increase their sales by adopting color schemes that give their interiors a pleasant atmosphere and show their wares to the best advantage. However, emotional reactions may be either positive or negative.

The Pioneers who make emotional effect in color are=

Sir Isaac Newton (1642-1727). Perhaps the greatest scientist of all time. Through his work in optics, discovered that white light contains all the hues of the spectrum. Also invented the hue circle.

Leonardo Da Vinci (1452-1519). Artist, scientist, engineer. One of the great figures of the Renaissance. Developed ideas on color harmony that are still considered valid.

Thomas Young (1773-1829). Founder of physiological optics. Developed the three-color theory of vision.

Michael Eugene Chevreul (1786-1889). Director of Dyes for the Royal Manufactures at Gobelins. Laid down modern principles of color harmony and of simultaneous contrast of colors.

G. T. Fechner (1801-1887). Founder of psychophysics. Formulated the Weber-Fechner Law which expresses the relationship of stimulus and sensation.

From the book Architecture and Color, Waldron Faulkner, F.A.I.A. (John Wiley & Sons Inc 1972)