Color Psychology and Use of Colour

In the present article, we study more issues of color semantics and symbols. Our research is based on the analysis of mainly Daghestani folklore and ethnographic materials and colour characteristics of traditional textiles, including carpets.
We examined two methods of gathering evidence about associations of colours in the minds of people. The first is to use some kind of psychological tests. The second is to use ideas incorporated in folklore and folk literature,
as handed down through generations of narrators and listeners. During this process, successive narrators have unconsciously filtered the material to ensure its relevance to their audience. This is clearly an indirect method: nobody actually answers the questions from today’s experimenter, so any colour associations must be inferred
from the context. Colours in oral tradition were considered, not in isolation, but rather in contrasting pairs or in sequences. It was found that a specific colour could have different associations in different conditions, and that generally the associations were more abstract than concrete. In surviving woolen rugs and felts and silk embroideries, colours appear to be linked with availability of dyes or decorative preferences rather than symbolism.

The relationship between color psychology and consumer behavior is at the centre of most marketing activities in the business environment. Empirical and theoretical literature asserts that color psychology is instrumental in determining the effectiveness of marketing activities, particularly when properly integrated in the organization's manufacturing and distribution strategies. There are different interpretations of color as determined by consumers' beliefs, culture, and attitudes. The purpose of this research is to investigate the relationship between color psychology and consumer buying behavior within the apparel market. The apparel market was chosen due its distinctive cultural dynamics and consumer psychological beliefs compared to other markets. There has been an increase in consumer buying behavior variations across the globe as a result of varying interpretations of marketing mix elements. The article submits that color psychology is one of the main features that determine consumer behavior in the apparel market. Data was collected through secondary sources such as journals, articles, and empirical sources such as existing researches regarding color psychology, consumer behavior regarding product color, and cultural perceptions on color within the apparel industry. Color psychology plays a bigger role in effecting emotional and intellectual influence among consumers. Color perception and color psychology affects people's behavior in such a way that the symbolism of the colors resonates with people's perceptions, hence linking it with information from their cultures. Through the color perception of different cultures, the research concluded that using a color that is associated with something negative will negatively affect the customers' retrieval cues, therefore repelling them from purchasing the product or service.

Illumination invariance remains the most researched, yet the most challenging aspect of automatic face recognition. In this paper we investigate the discriminative power of colour-based invariants in the presence of large illumination changes between training and test data, when appearance changes due to cast shadows and non-Lambertian effects are significant. Specifically, there are three main contributions: (i) we employ a more sophisticated photometric model of the camera and show how its parameters can be estimated, (ii) we derive several novel colour-based face invariants, and (iii) on a large database of video sequences we examine and evaluate the largest number of colour-based representations in the literature. Our results suggest that colour invariants do have a substantial discriminative power which may increase the robustness and accuracy of recognition from low resolution images.

Leningrad and Moscow of the 1920s were alive with artists, writers, scientists and craftsmen who sought a new language of communication. New institutes were established for new collaborations. A universal language was to traverse the borders between different art forms, countries and languages. Even the boundary separating the perception of humans and animals, would be crossed. At the Institute for Artistic Culture in Petrograd/Leningrad the violinist, painter and theorist Mikhail Matiushin (1861-1934) supervised the Department of Organic Culture where a 'grammar of colour' was produced for the use in architecture and design. The sounds made by ice melting, the feel of footsteps in the wet moss – all surrounding impressions from the sky, sounds of birds and the dynamics in motion would influence colour in its appearance. A training programme was elaborated based on a cross-extension of the senses, yoga and meditation, opening up new channels believed to be passed on to coming generations.

As Apple firstly launched iPhone at the beginning of 2007, the first generation of mobile devices rapidly raised using the same interface design approach establish by iOS Human Interface Guidelines that means skeuomorphism. The interface of iOS and Android smartphones were 3D, bold, rounded, coloured, shaded and hypermetaphorically similar to the real world. As always happened in design field, when something new is introduced into the market, it uses a mimetic approach with the already existing world so that people can easily create a mental model based on their previous experience. Colours were used in a natural way to convey a recognizable and reliable image of the world, so realistic to be transparent to the users perception. The enhancement in 2013 of iOS7 to flat design represents a significant breaking point. Quickly implemented and expanded as material design in a deeply well structured Android manual, flat approach has significantly altered the use and the language of colour...

Personalisation can improve the acceptability and prolonged use of a product. This paper reports on the use of colours in user-initiated personalisation of privacy settings and a mood tracker. Colours and their associations were discussed in participatory design activities with young patients (13-21 years old) in a children's hospital in Canada and in Norway and explored in a survey among university students. Colours are an effective way to personalise data. The young patients preferred to select their own colours for the personalisation of data and that colour associations and preferences should be re-configurable during the use of the technology. We found that in the case of the privacy settings, the re-configuration could lead to privacy risks. We illustrate our findings by presenting two prototypes we designed with and for young people with chronic health challenges. The first one shows the use of colours in privacy settings in a social networking site for teenage patients and the second one shows the use of colours in the mood tracking function of a mobile application supporting teens in their transition to adult health care.

Time is a very cinematic concept that has been extensively explored by Nolan throughout his films such as “Inception” (2010), or “Interstellar” (2014), addressing this issue based  on perception. Nolan explains that he perceives time as defining of our existence, being a complex concept difficult to explain and understand. And he considers the video camera as the first instrument that can see and manipulate time. For this reason he treats time in his films in a conceptual or structural way, but in “TENET” (2020), he also wanted to carry out a more physical reflection where the characters themselves have to deal with time manipulations. “TENET” is a film whose logic is centered on the concept of inversion, of the inverse entropy of an object or person, a very cinematic concept according to Nolan. This concept is mirrored throughout the film, where sequences are revisited and experienced by the spectator in reverse and not inverted simultaneously. So this research studies the representation of the concept of inversion in “TENET”. Inversion is part of the reflection on time, developed by Nolan since “Memento” (2000). The objectives are to understand: the treatment of time in the film; the audiovisual translation of inversion through the combination of image, dialogue, sound and the soundtrack; the importance of Ludwig Göransson's soundtrack in translating the concept of inversion; and the way the composer created the soundtrack with the director. The methodology was to analyze the film in its entirety, and to do an interpretative classification of the film in order to analyze it and problematize the representation of the inversion. As well as analyzing: interviews with the director, and the recently published monograph by Tom Shone written with Nolan; and theinterviews of the composer with Rolling Stone on the musical representation of inversion.

The present Chinese urban color plan inclined to assume the way of Japanese, which is based on the theory of the Geography of Color founded by Lenclos. However, both my interview in 2004 and my urban color plan in 2006 show that the way of planning from color to color can hardly meet the requirement of the rapidly developing Chinese cities, and the authority should leave more creative space to the designers. Researching the color scheme of Kirchsteigfeld done by Werner Spillmann in 1994 was very enlightening. Findings of other researchers also helped me to set up a systematic planning method. Considering the complexity of color in urban space, the present way of planning simply by color combination is not sufficient. Spatial configuration is the core of color plan, and the authority should emphasize the color pivot and vision rank to encourage creativity in real design. This article discusses the systematic method of color planning when considering Chinese urban plan system , and with typological means.

One of my books written for Tehran Municipality research center, "Evaluation of socio-psychological effects of color in the city with an emphasis on urban cars",

I have worked on the subject of "colour in the city" for over 20 years, if my articles' citations could be counted (they were not published in ISI journals), I could call myself an urban colour expert. Free download:
https://lnkd.in/gGxi6RiU # #research #color #colour #colorinthecity #urbandesign #urbanism #urban #colorpalette #colorpalletes #رنگدرشهر
#رنگ

Colour is visual identification or perception of a property derived from spectrum of light by human eyes. When a beam of light from sun or light source passes through a glass prism, it dispersed in to seven colours of rainbow. Sunlight has a high color temperature, a fairly uniform spectrum and is considered a standard for white light. A rainbow is an optical and meteorological phenomenon caused by reflection and refraction of light in water droplets present in the atmosphere. The rainbow colours are violet, indigo, blue, green, yellow, orange and red (vibgyor). Electromagnetic radiation in the visible range is generally called as light.

Color is a ubiquitous yet essential part of the city, creating and shaping urban form. Who can forget the whites of modernist Brasilia? The greens of historic Cairo? The rosy reds of Petra? The terracottas of South America's shanty towns? The color cacophonies of Times Square and Shinjuku? Colors have a presence over and beyond the objects—buildings, spaces, billboards, artifacts and people—that make up the city. Not only does color give meaning to cities, cities give meaning to color.

Whether carefully coordinated, clashing, or an expression of materials, color is a powerful cultural, economic, and political force in cities. Yet discussions on the city do not usually focus much on color, perhaps because urban colors are too often understood as being beyond any authority or taste or simply dismissed as cosmetic, naive, or intangible. Volume 3 of New Geographies brings together artists and designers, anthropologists, historians, planners, and philosophers with the aim of exploring the potency, the interaction, and neglected design possibilities of color at the scale of the city.

Colors and odors are associated; for instance, people typically match the smell of strawberries to the color pink or red. These associations are forms of crossmodal correspondences. Recently, there has been discussion about the extent to which these correspondences arise for structural reasons (i.e., an inherent mapping between color and odor), statistical reasons (i.e., covariance in experience), and/or semantically-mediated reasons (i.e., stemming from language). The present study probed this question by testing color-odor correspondences in 6 different cultural groups (Dutch, Netherlands-residing-Chinese, German, Malay, Malaysian-Chinese, and US residents), using the same set of 14 odors and asking participants to make congruent and incongruent color choices for each odor. We found consistent patterns in color choices for each odor within each culture, showing that participants were making non-random color-odor matches. We used representational dissimilarity analysis to probe for variations in the patterns of color-odor associations across cultures; we found that US and German participants had the most similar patterns of associations, followed by German and Malay participants. The largest group differences were between Malay and Netherlands-resident Chinese participants and between Dutch and Malaysian-Chinese participants. We conclude that culture plays a role in color-odor crossmodal associations, which likely arise, at least in part, through experience.

Farbe Diplomarbeit Michael Maeder and der Schule für Gestaltung in St.Gallen. Als Farbe bezeichnen wir Empfindungen des Gehirns, die auf dem Wege über das Auge durch Licht hervorgerufen werden. Lichtwellen sind ebenso beschaffen wie Radiowellen, nur wesentlich kürzerer Wellenlänge

Escribir sobre las impresiones que te causan las imágenes de una película-no la película en sí-es de las cosas más gratificantes para mí. Hay momentos cinematográficos que me impactan con tan solo verlos y lo único que soy capaz de hacer es llevarme las manos a la boca y quedarme así por varios minutos. Esto ocurre cuando la historia nos sumerge extrañamente en emociones ajenas y pone en evidencia que lo nuestro no es en realidad ajeno para nadie, lo que sentimos es humanamente real. El cine de Wim Wenders provoca este efecto en mí, la imagen normalmente suele ser un refuerzo narrativo en una película pero en su obra resulta ser la historia en sí. Sus imágenes tienen un valor "mostrativo", no representan o acompañan, son el film. Su plan es entrar en la psique del espectador a través de la composición y el color además de los diálogos y desempeños actorales poderosos que suelen componer sus historias. "Paris, Texas" tiene ese balance entre el poder visual y el poder del relato. La imagen tiene el papel de regalarnos datos, situarnos en estados interiores y lugares exteriores retratando temas como la familia, el olvido, el desencanto de los sueños y la búsqueda del ser a través del viaje como detonante de un camino interior hacia el autoconocimiento y la aceptación de uno mismo. Wim Wenders y el destacado director de fotografía neerlandés, Robby Müller, comparten responsabilidad creativa y utilizan el poder de la fotografía para traducir estas ideas en cuadros cinematográficos con imágenes estéticamente puras que sostienen gran peso emotivo del film.

This article explores the effects of using black on spatial experience by means of phenomenological analysis of its architectural examples with a special focus on Serpentine Gallery Pavilion designed by Peter Zumthor. Contrary to the growing interest in the color in contemporary architecture, black rarely found a place in architectural history and in studies on color design. Whereas, the distinct achromatic qualities of the color that appear highly self-contradictory swinging back and forth from absence to presence cover a wide range of potentials to be used in architectural design. Through insights delved into the spatial experience constructed around these qualities, this paper attempts to analyze how black is used as a design element in built environments. This analysis revolves around Zumthor’s pavilion, which stood as a uniform black box on the expanse of green grass of London Kensington Gardens for more than three months in 2011. Encompassing various oppositions, the box built to surround a hortus conclusus, an enclosed garden inside, provided its visitors with a unique spatial experience depending predominantly on the combination of its form, tectonics and the qualities of its color, black. The phenomenological analysis of these qualities manifests that the architect utilized the contradictory characteristics of the color intentionally in order to create a complex and manifold spatial experience for visitors in and out the box. In an interplay of absence and presence, momentary crystallizations of the vision of black provide architects with uncharted opportunities for creative use of color in the design of built environments.

This study compares the color schemes and design of packages of sweets in the US and Japan from the viewpoint of the cultural history of color. To visualize this comparison, color charts representing typical Japanese and American sweets packages are presented. The central aim of the comparison is to clarify cultural differences in color that characterize appetizing sweets, between the US and Japan. The research method was as follows: I purchased a total of 120 items, 20 items each of hard candy, chocolate, and chewing gum sold nationally, both in the US and Japan in 2013-14. Using ColorMunki Design of X-Rite, I measured the color scheme of these packages and listed the data in the form of color charts. These data are significant in revealing the fundamental cultural differences in the package design in these nations, a valuable insight for the field of international marketing and graphic/package design. Generally, there is a strong tendency for Japanese sweets packages to use a warm and light color scheme, whereas American ones apply a vivid multicolor scheme. Japanese sweets manufacturers produce various novelty items that promote seasonal and regional marketing, whereas American mass-produced sweets and its coloring are generally aimed at children and their dreams. Therefore, the color scheme of and the images on packages of US sweets resemble American comics.

Este artigo aborda o universo da cor na criação gráfica nos cartazes produzidos pelo designer Kiko Farkas para a Orquestra Sinfônica do Estado de São Paulo – OSESP. As características cromáticas destes cartazes foram analisadas na dissertação de mestrado. Serão discutidos os sistemas de cores, as nomenclaturas e a recepção visual da cor, categorizando os principais modos de utilização cromática praticados nos cartazes. ABSTRACT This paper is about the graphic creation's color universe in the posters produced by designer Kiko Farkas for the São Paulo State Symphony Orchestra — OSESP. The chromatic characteristics of those posters were analyzed in our master's thesis. Color schemes, nomenclatures and visual color reception are discussed, categorizing the main ways of using color in these posters.

Colour is one of the most complex and difficult variables which marketers have to contend with when forecasting, planning, presenting and managing ranges of fashion goods. This paper aims to contribute towards a greater understanding of some of the factors that influence decisions about colour forecasting within the textile and clothing industry. A variety of colour forecasting services are available to aid designers and buyers in colour selection. However the earlier the colours are predicted, the more expensive the service tends to be. In the case of a leading mail order company, how useful are these services? Do they aid colour selection or are they an unnecessary expense? What are the risks of selecting the wrong colour? These questions and many more shall be addressed by looking at how a leading mail order company selects their colour palette for a season.

This paper describes the third (and final) part of an analysis of the results of an ongoing research project concerning the French period of environmental colour design. In May 2019, a qualitative oral history approach was used to conduct a series of semi-structured interviews in French with six colour consultants presently living in Paris: Michel Albert-Vanel, Yves Charnay, Victor Chérubin Grillo, Bernard Lassus, André Lemonnier, and Jean-Philippe Lenclos. Applying an inductive approach and implementing a thematic analysis for the interpretation and representation of the interview data revealed answers to the question "Comment voyez-vous l'évolution de la couleur dans l'environnement?" or, in English, "How do you see the evolution of colour in the environment?" The answers of the six colour designers carefully analyzed in the French context since the 1950s contribute to a better understanding of key aspects of the evolution of environmental colour design.

My research aims to provide a theory of how abstract, intangible information is linked to specific color attributes in order to deliver guidelines that facilitate the design of intuitive human-computer interaction in abstract domains. The theory predicts which color attributes induce information processing and behavior that is consistent with these color-to-abstract mappings. As a result, designers do not need to rely on exploratory research but can systematically use color as a means to design for intuitive interaction.

A travez del tiempo hemos estado condicionados conciente o inconcientemente por los colores, desde que nacemos, nuestro circulo soical, nuestra cultura, tradiciones rigen pensamientos frente a los colores y la simbología, que hace que nosotros actuemos de una u otra manera, y eso es exactamente lo que la persuasión propone; el simple ejemplo del semáforo nos da una pauta de cuán importane este tema es para las personas.

There are several ways in which to recognise an auto-representational drive in the oeuvre of French artist Yves Klein. The possibility of an autobiographical reading of Klein’s oeuvre is therefore without dispute, especially in the cases of his paintings and theoretic writing. Here I argue that the IKB series (usually known as “the blue monochromes”) is a series of auto-portraits. Indeed, I suggest that this interpretation is more coherent with Klein’s motivations and richer in consequences for a theory of auto-fiction.

Here's the entire book, for free. I found it posted several places on the internet, so even though it's still in copyright, I thought I'd post it here.

I am currently working on a book that's a kind of sequel, except the new book will be on a much larger scale. It's called, tentatively, "Our Visual World." My co-author is the historian Erna Fiorentini, and our publisher is Oxford. There's more about it on this site, and also on my website at

http://www.jameselkins.com/index.php/experimental-writing/257-our-visual-world

All comments are welcome! (Except comments on the chapter "How to Look at an Engineering Drawing": that chapter has an error, and if you're clever enough to find it, you're lucky.)

American Director Wes Anderson's films are an interesting case study on the use of representation and visual language as elements capable of implementing the narrative underlying the film plot. His films, in fact, are constructed according to a logic similar to that of architectural representations. The combination of geometries, perspectives, textures and colors generates a code of signs capable of mediating between the intelligible and the sensitive, between the idea and the image. In particular, chromatic aesthetics constitutes a carefully curated component in the image sequences. The balanced and perfect color compositions, however much they may seem a decorative whim, represent a clever narrative device that, designed according to logical patterns, is able to embody symbolic and communicative values. This research, therefore, aims to investigate the language of color in Anderson's films, with the aim of analyzing its narrative potential. The color is investigated both as a narrative content of the filmic atmosphere and as a narrative container of emotions and symbols. The double register of analysis used for Anderson's films can become a trace of a general methodology of analysis, applicable not only to the works of other directors, but also to other forms of visual narration.