The intermediate grey is neither coloured nor light or dark. It does not cause any excitement and is free from any mental tendency. Grey is neutrality, it is not a subject or object, it is not external or internal, it is not tension or relaxation.
Grey is not the territory where one can live; it is only a border: the border is like a no man's strip, the border is like a contour, as a dividing line, as an abstract division for the division of opposites. If grey as a border is put in the first place in the test, they do not want to let to know themselves, protect themselves from all sorts of influences to remain indestructible.
Whoever puts grey in the last place wants to bring everything closer to himself, which can be regarded by others as interference in their affairs. He finds grey boring and displaces his inanimate calm to the last place in the row. He prefers all the other fancy colours together with their controversial tension, as they express a stimulating emotion. Whoever denies the grey colour, the one, due to his readiness for excitement, offers his services and is afraid to be bypassed. He strives to exhaust all possibilities to achieve his goal and thus find peace of mind.
Who puts grey in second place, divides his world into a compensatory-evaluated sphere, which is characterized by the colour that stands in the first place, and the sphere of all others, following the grey, devalued or displaced by fear of colours or life opportunities. Even if the grey colour is in the third place, the mismatch between the preferred colours in front of the grey (border), and all subsequent colours are still so intense that both of the first places should be considered as a compensatory motivation.
The colours that are in front of or after the grey wall during re-testing will, depending on what form the conflict will take, then appear in front of the grey "wall", then hide behind it again. Such accompanying grey colours, while grey stands in the first half of the row, are charged with conflict.
Statistical analysis confirms that the elections of chromatic colours in relation to the elections of grey appear in different areas of personality, as they do not correlate with each other. The irritating light and soothing darkness may be particularly closely related to the control of the waking centre of the reticular formation of the brain stem so that light, dark choices characterize the state of its tone and thus the psychoenergy level. In all achromatic colours (grey, white, black) there is no differentiated attitude to the object. And vice versa, the choice among a number of chromatic colours (according to the eight-colour test table) shows how emotionally a relatively fixed personality structure reacts to the surrounding situation.
Light is grey.
In contrast to dark grey, light grey acts easily. It is akin to red. Thus, light grey expresses the nature of the tone of the free and sublime psychoenergetic state of arousal. If among other grey tones light grey is preferred, we can assume the presence of readiness for an adequate response to the irritant. Psychologically, this vegetative state is a readiness for arousal or readiness for emotions and contacts. If the light grey is rejected, the subject is closed in a stagnant excitement and does not succumb to any influence.
Dark - grey.
Dark grey (as well as dark blue) acts calmly, fully and heavily. The excitement, in this case, is muted or slowed down, but it is not yet stagnant. Who prefers dark - grey, he is inherently hypersensitive. For him it is important to achieve a constant, harmonious state of balance (without stress and excitement), giving satisfaction and fulfilment of desires. As with brown, the need for regressive, physical and mental satisfaction dominates.
Conversely, those who deflect darkly - grey - suffer from their sensitivity. The expected harmony is disturbed, and they also reject heartfelt and sensitive connections. Gray (as well as other achromatic colours - white black) increases the intensity and enhances the action of any nearby chromatic colour. The following rule should be taken into account when colouring: in most cases, no more than two coloured surfaces should dominate or be adjacent to each other.
For the third surface, one of the achromatic colours should be used. For example, a green door in a house against a red brick wall should have a white door frame instead of a coloured one.