Interior requires an emotional consensus of the area. A man can not be satisfied by perception of usefulness of what surrounds him, as in his existence feelings are no less important than common sense. And notwithstanding the complex approach of the interior arrangement, this question, especially in the aspect of emotional effect of color, is not investigated enough. In Gleitzeit art space has borderlinear curves together with color development in connection of compositional idea, uniting all the principles in unison and embodying so as logic also the sensuous essence. Scientifically was proven necessity of constant flow of information, including color. Otherwise color hunger can develop. Sometimes achromatic color is reasonable and necessary. As it is the idea background for viewing paintings, carpets, tapestries in museums, art galleries or art studious. When in residential interior color over saturation created nausea and decreased sensibility and color fatigue. It’s important not to forget that human adaptation to nerve stress typical to contemporary life condition is not easy process often concurrent with negative outcome. Therefore the interior of art gallery of art studio has a new meaning in the interior make-up. Even to art studio type of color harmony people can have different responses. Color activity in Gleitzeit works is achieved not only by color loads but by color ratio with rules of limitation. Paul Jaisini achieves with color high level of emotional urgency without violation of color measure. The justification of color in his work is dedicated by the idea and demands of each composition. In painting for instance, yellow color is almost adversary to artistic harmony and I found in Gleitzeit many examples of complete new role of this color, that can be not adversary to harmony but its integral highlight. P. Jaisini reaches color activity within skillful proportioning of limited amount of color used. Here I want to point our that P. Jaisini’s color is pure and sound as he never mixes colors until the mud condition. He uses color open spectrum in the pallet but never mixes more than two colors to solemnize purity of color as an important artistic objective.