Notes on Color

Depending on where it is applied and for whom, each palette possesses the potential to soothe or irritate, uplift or depress, please or repel. Ultimately, the color of a room or a chair determines our response to it. If we would like works of art, interiors and objects to touch our minds, we must use the potent and instant medium of color. Through a human-centric lens, color's primary role in design is to evoke meaning, encourage well-being and extend the life of the work itself. That is why we always have highly skilled artisans who work meticulously through every stage, from the sculpting to the coloring. This view necessarily starts from a primal physiological argument to understand color perception and to work with instinctive reactions to certain hues, tones and chromas: definitions of beauty refined through human evolution. From here, our aim is to create a palette for the sculptural pieces at The Soft Minimal that is satisfying on the deepest, often subconscious level, that fits its context and serves its function, possesses quiet beauty that transcends trends and will not fade with time, even as the festive season draws near. In our search for these qualities, we find ourselves drawn to earthly colors: to the softness of sand, depths of cloudy skies, richness of clay and warmth of wood. If we look closely, nature gives us an abundant palette for the enrichment of the indoors.

Color is a tantalizing mental phenomenon. All the light and beauty that is perceptible to the human eye resides within a small spectrum of electromagnetic waves. The estimated 10 million colors we are able to see are the product of our brain processing different wavelengths. Matter does not possess color; it reflects waves of light that travel through our optic nerve to be deciphered by the visual cortex, while some light is absorbed by the object and eludes us completely. It is as if there is a painter living in our minds, constantly coloring the otherwise dull landscape before us. As an ocular medium in the design of works of art, color is fundamental to our experience. When a specific wave of light bounces off a specific material and fills our mind's eye, we become bathed by its energy. The response is instant, starting deep in the neural pathways of the brain and radiating through our whole being, moving us physically, emotionally and spiritually.

Our relationship with color has developed over millennia and is rooted in the natural world. After all, we have spent most of our existence there while the built environment is relatively new to us. Beyond its beauty, nature's spectrum serves physiological functions. The chlorophyll of green flora signifies nourishment and thus incites contentment.

When night falls, we are instinctively lulled by barely perceptible black light, whereas the bright white light of day stimulates us into action. Of all the colors we are able to perceive, black and white were the first our ancestors gave names to. These colors have come to symbolize the binary truths of human existence: night and day, darkness and light, death and life, the latter represented differently in the East and West. Some cultures have developed a particularly nuanced understanding of their local color scheme, such as indigenous communities in the far north who have coined hundreds of eloquent words to describe snow. Many cultures agree we "see red," "feel blue," or fall prey to a "dark mood." Yet the spectrum with the most widespread resonance is the one painted by nature. Regardless of name or culture, we have evolved universal neurological preferences for those hues that have consistently represented safety and sustenance: the poetic light waves reflected by a lake or a blue sky, the attractive green of edible plants and the rich brown of life-giving earth.

Transferring this serene palette to our works of art can affect a similar sensation of calm. Works of art finished in earthy colors of beige, brown, white and red with windows looking onto verdant landscapes are soft on the eyes and speak of enrichment and sanctuary. We read such works as beautiful because of the feelings they evoke. It is for this reason that our approach relies extensively on neutral colors. We are very careful in how we use vivid hues in design, such as the red and the blue of the AeroCherub balloon. In nature, vivid hues often demand attention and action, so we researched for a long time to arrive at a red and a blue that suit the brain. Even a bright color can then avoid overstimulating the mind and instead maintain the repose that is a tenet of well-being. Through a restrained selection of neutrals, we also invite the eye to discover the subtle nuances of each hue, sharpening an appreciation of a deceptively "minimal" palette. Over time, the eyes become familiar with the character transitions of a certain shade of slate compared to its moodier marble sibling, adeptly perceiving minute differences. A myriad of beautiful tones can emanate from any hue and with each shift comes a shift in atmosphere. Warmer tones often invite feelings of happiness, optimism and energy, while cooler tones typically soothe and relax us. Harmonious combinations of neutrals that work with specific light conditions equate to emotional harmony. Monotonal or monochromatic works of art are especially good at instilling peace. They are not only effortless on the eyes, but they mimic a natural ocular process that regulates the gradual variation in color from morning to evening: a mental construction of order and simplicity.

Color creates atmosphere through its perceived volume as well as its hue, tone and vibrancy. A human-centric approach to design is empathetic about where and when the psyche desires open space or intimacy and applies color to emphasize these qualities. A small room filled with works of art in deeply saturated tones will seemingly envelop the inhabitant and promise solitude and safety. A large room washed in the light colors of its works will expand out and up, lifting the spirit of whomever stands there. In this way, we can use the colors of these works to manipulate volumes and create a poetic experience of a given space, regardless of its actual size or shape.

Beyond working with innate physiological responses to color, we must carefully handle the murky realms of color meaning and memory. Throughout our lives, colors are infused with stories that affect our preferences for or against them. This is an ongoing process influenced by politics, religion, art, consumer trends, evolving physical environments and our memories. The ideal palette of works of art will differ from region to region depending on its unique natural habitat, the materials available and the beliefs and customs of its people. The meaning of a given work of art is never the same in every place or for every person, and it is never the same for long. Such a shifting target is perhaps best avoided if we are to achieve arrangements of works of art that are beautiful, deeply meaningful, promote well-being and last a lifetime. From this mindset, we find ourselves returning to primal neutral colors, originating in nature, which have marinated in meaning for millennia and are thus more universal, timeless and arguably better for mental health. While the preferred palette is restrained to soft beige, brown and grey, each context inspires a different hue selection and combination, certain tones and levels of vibrancy that resonate with that place. Much like a bird's nest, we aim to design works that integrate with their surroundings. A beguiling camouflage with just the right amount of character.