Exploring How Colour Shapes Perception, Language, and Design Across the Globe
When you look at a painting or glance around a room, the colours you see might feel universally understood—after all, red is red, blue is blue, and so on. But this assumption hides a world of fascinating variation. The colours we see and the words we use for them aren’t the same across cultures. In fact, different languages name and categorise colours in ways that can change how we see the world, making colour a deeply cultural experience. Let’s dive into the vibrant and diverse world of colour naming and explore how language influences our perception and design choices.
The Origin of Colour Words
In the 1960s, researchers Berlin and Kay discovered a pattern in how languages develop words for colours. They found that colour terminology emerges in a predictable sequence. For example, languages with only two colour terms always describe black and white (or dark and light). Languages with three terms introduce red next, followed by green or yellow as more names emerge. English, with its eleven basic colours (black, white, red, green, yellow, blue, brown, purple, pink, orange, and grey), is on one end of the spectrum, while some smaller languages may have as few as two or three basic colour terms.
This linguistic difference shapes more than vocabulary; it affects how people perceive colours. Languages that lack a separate word for blue, for instance, may group it with green, which can alter how speakers differentiate between the two. For example, Russian has two distinct words for what English speakers call “blue” (“синий” for dark blue and “голубой” for light blue), leading Russian speakers to see and describe blue in subtler shades than many English speakers.
Colour Naming Around the World
1. Japan and the Concept of “Ao”
In Japan, “ao” traditionally referred to both blue and green. In fact, traffic lights in Japan are referred to as “blue” (ao shingō) even though they’re technically green. While modern Japanese now has a word for green, “midori,” the cultural history of calling green objects “ao” reflects a unique way of viewing colours as part of a broader spectrum. For Japanese designers, this fluidity between green and blue can lead to a distinctive aesthetic that favours harmony and natural tones.
2. The Himba People of Namibia
The Himba language in Namibia uses fewer colour categories, with some studies indicating only five main colour terms, grouping several hues that English-speaking cultures would see as distinct. The Himba people, for example, can more easily differentiate shades of green but might group what we consider “blue” and “green” together. This influences their perception of nature, design, and art, often emphasising textures and patterns over contrasting colours.
3. Arabic and Farsi’s Rich Colour Lexicon
Arabic and Farsi languages both use a complex set of colour names that often carry specific cultural meanings and associations. For instance, in Farsi, “nil” refers to a deep blue, akin to the blue of the Nile River. Similarly, “zahra” represents a brilliant yellow, capturing the intensity of sunlight in Middle Eastern art and design. This diversity in colour language is mirrored in Middle Eastern and Persian design, which frequently employs rich, layered colours.
4. The Indigenous Perspective: Warlpiri of Australia
Indigenous Australians, such as the Warlpiri, don’t categorise colours in the same way as English speakers. Instead of distinct names, they often describe colours in terms of how they interact with the environment, like the colour of earth after rain. This nature-rooted perspective influences Indigenous art, which emphasises texture, patterns, and symbolism over strict colour definitions, creating designs that deeply connect with the land.
5. Russian’s Unique Take on Blue
In Russian, dark blue (синий) and light blue (голубой) are seen as entirely separate colours. This distinction means Russian speakers often perceive these shades as uniquely different, not simply as “shades of blue.” This difference enriches Russian art and design, making nuanced blues an essential part of cultural expression and visual language.
How Colour Names Shape Design and Aesthetic Choices
Our words for colours affect how we use and understand them in design. Cultures with fewer colour terms might favour monochromatic schemes, valuing texture and depth over contrast. In comparison, cultures with extensive colour vocabularies, like Italian or Japanese, often embrace vibrant and varied palettes. Even in international design, understanding cultural associations with colour is vital; a colour that conveys joy in one culture may symbolise mourning in another.
For instance, in Western cultures, white is often linked to purity and weddings, while in many Eastern cultures, it is associated with death and funerals. Designers working across cultures must be sensitive to these associations to avoid misunderstandings and build connections with diverse audiences.
Colour Perception in a Globalised World
In our increasingly globalised world, understanding the cultural implications of colour is more relevant than ever. For brands, designers, and creatives, being aware of how colours are perceived across cultures can enhance communication, avoid misunderstandings, and create more inclusive designs.
As we bring together these rich colour vocabularies, designers can find inspiration in the ways different cultures categorise and appreciate colour. Whether it’s by embracing the earthy tones of Indigenous art, the nuanced blues of Russian design, or the blue-green harmony in Japanese aesthetics, global colour perspectives provide us with an endless palette for creativity.
Embracing Colour Diversity in Design
At Flaminky, we celebrate the global diversity of colour and design. Each colour carries its own story, shaped by language, culture, and history. By understanding the cultural context of colour, we gain a more profound appreciation for the world around us and find new ways to bring creativity to life.
Next time you choose a colour, think beyond your own language. Perhaps that deep green could be an “ao” blue, or maybe your “blue” might actually be “nil.” Through the lens of different cultures, we can enrich our understanding of colour and design, crafting a world where every shade tells a story.