Dissertations / Theses on the topic 'Color Symbolism'

This study examines Toni Morrison’s use of symbolism in Sula and The Bluest Eye, especially archetypal and color symbolism, in an effort to recover the culture that has been lost to Diasporic Africans. Moreover, the color symbolism and symbolic archetypes that Morrison employs in both novels, but to a greater extent Sula, are a direct reflection of her awareness of the African ancestral heritage and spirituality associated with those colors and archetypes. A vast majority of the literary critiques of Sula have focused on either Sula as a scapegoat for the community, Morrison’s use of race, gender, and sexual themes, or the characterizations throughout the novel. The literary criticism of The Bluest Eye has mainly focused on issues of race, class, and gender and the effects that these issues have upon black and white societies in America. Although these themes warrant the attention that has been given them, little or no focus has been given to the prevalence of color symbolism that Morrison employs in both novels. Therefore, this paper will attempt to provide a focus on color symbolism that has not been explored in other literary reviews.

In this thesis, the writer examines the color imagery in three Margaret Atwood novels: Surfacing, Cat's Eye, and The Handmaid's Tale. Atwood uses color in unconventional ways by forcing colors to symbolize the opposite of their common meanings, by allowing colors to represent simultaneously two opposing ideas, and by disregarding traditional color meanings by creating her own unique associations. Atwood's color imagery supports her thematic concerns in that through her themes--as with her use of color--she challenges the reader's expectations by throwing into question many conventional ideas about progress, religion, and the sex-gender system.

In creating my work I use bold, bright colors and fundamental shapes and patterns. My images reflect how I view the world and genuinely express my imagination, feelings, and thinking. Working this way allows me to apply a symbolic face to personal concerns, beliefs, fears, ideologies, and philosophies. I see a world where life and art blend to create images of triumph and tragedy, joy and pain, or growth and change. My ideas have grown from the desire to understand myself as a woman, as a Christian, and as a unique individual. Dealing with personal questions, I explore the varying relationships between popular culture and self-perception. Another source for my work are philosophical themes, along with political and social commentary. I want my messages to not only touch the heart and soul of people but convey a message that they will remember.

This is the result of a 10 week long study about if player behaviors and choices are affectedby the surrounding colors in their environment. A number of players are asked to movethrough a virtual environment, while being clocked, where they have to make left and rightdecisions based on different colors (red, green, blue and gray). While most choices consist oftwo different colors, some use the same color. The result shows that the players most likelyprefer one color over another, and that they most likely prefer a non-neutral color over aneutral color. With these results and the interviews that are conducted the conclusion is madethat it is very likely the players choices are affected by the colors in the environment, but it isnot clear to say how they are affected.
Det här är resultatet av en 10 veckor lång studie om spelares beteenden och om deras valpåverkas av färgerna i deras omgivning. Ett antal personer är tillfrågade att röra sig genom envirtuell miljö, på tid, där de gör höger- och vänsterval baserat på olika färger (röd, grön, blåoch grå). Medan de flesta av valen består av två olika färger så använder några samma färger.Resultatet visar att personerna troligen föredrar en färg framför en annan och att de troligtvisföredrar en icke-neutral färg framför en neutral färg. Med dessa resultat och de intervjuer somgjordes så blir slutsatsen att det är stor sannolikhet att personerna påverkas av färgerna i derasomgivning, men det är svårt att säga exakt hur de påverkas.

[ES] Hoy en día es posible observar una difusión global del color blanco en el panorama de la arquitectura contemporánea. Las cuestiones vinculadas al empleo de este particular color penetran con profundas raíces en los tiempos antiguos, en la cultura, en la historia. Para buscar las razones tras el uso del blanco, la presente investigación propone un punto de vista holístico, analizando el mito, la poética y la ciencia del blanco en arquitectura. Estas tres claves de lectura del fenómeno del blanco conducen a diferentes razones para explicar su empleo. Claves de lectura que se separan exclusivamente para obtener un estudio más ordenado del tema, pero que en la complejidad de la arquitectura actúan de forma inseparable. La tesis estudia y analiza el escenario de la arquitectura contemporánea a partir del color, pero teniendo conciencia que este representa solo un parámetro entre los muchos que realizan la forma y el espacio de la arquitectura. De las obras del pasado, de los tratados y de las teorías, hoy llega una narración llena de alternancias - de épocas de revival, pero también de renacimientos y vanguardias -, un verdadero mito en el que el color blanco, a pesar de todo, resiste con constancia hasta establecerse en la memoria actual. Al acercarse a la época hodierna, los contornos de ese mito se vuelven más nítidos y precisos, y las cuestiones históricas y culturales se unen con las innovadas necesidades de la práctica arquitectónica contemporánea. Varios arquitectos emplean el blanco para sus obras y para lograr determinadas y distintas ideas. Se define entonces una poética del blanco, es decir, una forma esencialmente subjetiva de pensar y construir arquitectura. Para investigar estas instancias individuales y específicas, al análisis de obras de arquitectura se une una serie de diálogos sobre el blanco que enriquecen el tema con las experiencias directas de los arquitectos. Aunque el color sea un fenómeno por su naturaleza muy subjetivo, el empleo del blanco en arquitectura es soportado por la ciencia y, en particular, por algunas ventajas físicas y químicas. La construcción del blanco es posible gracias a varias técnicas que amplían y extienden su larga tradición constructiva gracias a la innovada eficacia de métodos antiguos, pero también con nuevas tecnologías y materiales. El estudio se enfoca en particular en el análisis de la cultura arquitectónica española, portuguesa e italiana; la investigación no se limita a estos ámbitos geográficos, extendiéndose a considerar un horizonte global para la arquitectura blanca. El análisis de las obras de arquitectura blanca publicadas en revistas científicas de relevancia internacional proporciona un dato estadístico y objetivo de la condición global de la cuestión. La definición de la tendencia contemporánea al empleo del blanco, se remonta a la segunda mitad del siglo XX, cuando algunas obras acogen los valores del mito y los renuevan de una forma actual. No obstante, la difusión global del blanco en arquitectura se debe a su capacidad de representar ideales diferentes y múltiples. Se deduce, entonces, que el blanco no es el color de una homogeneización, sino que representa un factor común a muchas experiencias de la contemporaneidad.
[CA] Hui en dia és possible observar una difusió global del color blanc en el panorama de l'arquitectura contemporània. Les qüestions vinculades a l'ús d'aquest particular color, penetren amb profundes arrels en l'antiguitat, en la cultura, en la història. Per a cercar les raons de l'ús del blanc, la present investigació proposa un punt de vista holístic, analitzant el mite, la poètica i la ciència del blanc en arquitectura. Aquestes tres claus de lectura del fenòmen del blanc conduïxen a diferents raons per explicar el seu ús. Claus de lectura que se separen exclusivament per a obtindre un estudi més ordenat del tema, però que en la complexitat de l'arquitectura actuen de forma inseparable. La tesi estudia i analitza l'escenari de l'arquitectura contemporània a partir del color, però tenint consciència que aquest representa només un paràmetre entre els molts que realitzen la forma i l'espai de l'arquitectura. De les obres del passat, dels tractats i de les teories, hui arriba una narració plena d'alternances - d'èpoques de revival, però també de renaixements i avantguardes -, un vertader mite en què el color blanc, malgrat tot, resisteix amb constància fins a establir-se en la memòria actual. A l'acostar-se a l'època hodierna, els contorns d'eixe mite es tornen més nítids i precisos, i les qüestions històriques i culturals s'uneixen amb les innovades necessitats de la pràctica arquitectònica contemporània. Diversos arquitectes empren el blanc per a les seues obres i per a aconseguir determinades i distintes idees. Es defineix llavors una poètica del blanc, és a dir, una forma essencialment subjectiva de pensar i construir arquitectura. Per a investigar estes instàncies individuals i específiques, a l'anàlisi d'obres d'arquitectura s'unix una sèrie de diàlegs sobre el blanc que enriquixen el tema amb les experiències directes dels arquitectes. Encara que el color siga un fenòmen per la seua naturalesa molt subjectiu, l'ús del blanc en arquitectura és recolzat per la ciència i, en particular, per alguns avantatges físics i químics. La construcció del blanc és possible gràcies a diverses tècniques que amplien i estenen la seua llarga tradició constructiva gràcies a la innovada eficàcia de métodes antics, però també amb noves tecnologies i materials. L'estudi s'enfoca en particular en l'anàlisi de la cultura arquitectònica espanyola, portuguesa i italiana; la investigació no es limita a aquestos àmbits geogràfics, estenent-se a considerar un horitzó global per a l'arquitectura blanca. L'anàlisi de les obres d'arquitectura blanca publicades en revistes científiques de rellevància internacional proporciona una dada estadística i un objectiu de la condició global de la qüestió. La definició de la tendència contemporània a l'ús del blanc, es remunta a la Segona meitat del segle XX, quan algunes obres acullen els valors del mite i els renoven d'una forma actual. No obstant això, la difusió global del blanc en arquitectura es deu a la seua capacitat de representar ideals diferents i múltiples. Es dedueix, llavors, que el blanc no és el color d'una homogeneïtzació, sinó que representa un factor comú a moltes experiències de la contemporaneïtat.
[EN] Today it is possible to observe a global diffusion of white color in the panorama of contemporary architecture. The issues linked to the use of this particular color, penetrate with deep roots in ancient times, in culture, in history. To find the reasons for the use of white, this research proposes a holistic point of view, analyzing the myth, the poetics and the science of white in architecture. The three keys to reading the phenomenon of white lead to different reasons to explain its use. Reading keys that are separated exclusively to obtain a more orderly study of the theme, but that in the complexity of architecture act in an inseparable way. The thesis studies and analyzes the scenario of contemporary architecture starting from color, being aware that this represents only one parameter among the many that realize the shape and space of architecture. From the works of the past, from the treatises and from the theories, today arrives a narration of continuous alternations - of epochs of revival, but also of rebirths and vanguards -, a true myth in which the white color, In spite of everything, it endures with constancy until it is established in the present memory. As we approach today's times, the outlines of this myth become clearer and more precise, and historical and cultural issues are combined with the innovated needs of contemporary architectural practice. Various architects use white for their works and to materialize certain and different ideas. This defines a poetics of white, or in other words, an essentially subjective form of thinking and building architecture. To analyze these individual and specific instances, the analysis of architectural works is accompanied by a series of dialogues on white that enrich the theme with the direct experience of architects. Although color is a very subjective phenomenon by its nature, the use of white in architecture is supported by science and, in particular, by some physical and chemical advantages. The construction of white is possible thanks to various techniques that expand and extend its long construction tradition thanks to the renewed efficiency of ancient methods, but also with new technologies and materials. The study focuses in particular on the analysis of Spanish, Portuguese and Italian architectural culture, but the research is not limited to these geographical areas, extending in considering a global horizon for white architecture. The analysis of works of white architecture published in scientific journals of international importance, provides a statistical and objective data of the global condition of the issue. The definition of the contemporary tendency to use white dates back to the second half of the twentieth century, when some works embrace the values of myth and renew it in a contemporary way. Despite this, the global diffusion of white in architecture is due to its capacity to represent different and multiple ideals. It is therefore deduced that white is not the color of homogenization, but on the contrary it is a common factor in many contemporary experiences.
Marco, PD. (2020). Arquitectura blanca. Mito, poética, ciencia. El color blanco en la arquitectura contemporánea [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/160488
TESIS

Pierre Jodlowski's Works Based on Colour consist of three pieces: Série Noire (2005), Série Blanche (2007), and Série Rose (2012) pour piano et dispositif électroacoustique. According to the composer, "each colour provides an opportunity to investigate a particular link of music with imagery." The pieces serve as a musical representation of cinematic elements through the synchronization of music and sound effects. The musical language of the cycle draws influences from various sources including the music of expressionism, musique concrète, as well as standard soundtrack scoring. The intermingling of various melodies, harmonies, and rhythms creates a synthesis between the piano and the electroacoustic soundtrack (tape).In Pierre Jodlowski's Works Based on Colour, he seeks to form an interdisciplinary collaboration between music and visual multimedia. The composer's interest in cinematography and mental processes is evident through his selective mixing of audio effects, sounds (real sounds versus synthesized sounds), and piano. According to Jodlowski the visual aspects, or mise-en-scène, of cinema should surface in the minds of the listener after hearing each of the works. Jodlowski's method of mixing involves several techniques: the insertion of fragments of dialogue from various films, tinkering with inanimate objects, pre-recorded sounds of nature, and the distortion of sonic effects and instrumentation. Aside from the use of color as a symbol, Jodlowski's cycle contains extra-musical ideas that cover a wide range of cinematic themes, including atmospheric elements of film noir, the gradual shifts and changes in our mental processes, as well as love discourse and sex from erotic cinema and pornography. Jodlowski's Works Based on Colour stirs the listener's imagination through the clear delineation of contrasting sections, the dialogue-like interaction between the tape and the piano, and the inclusion of dialogue and sound effects from various films. A performer should have knowledge of cinematic elements, understand the purpose of cinematic concepts and their significance for a cinematic viewer, and recognize their function in Jodlowski's works before performing the Works Based on Colour.

Denna undersöknings syfte var att undersöka hur en 3D-scens val av färger skulle kunna påverka spelarens uppfattning av scenens environmental storytelling. I undersökningens bakgrund presenteras olika metoder, teorier och tillvägagångssätt för att skapa environmental storytelling, samt forskning kring färgassociationer, färgers kontext och kulturella skillnader gällande tolkning av färger. För att svara på undersökningens frågeställning skapades två olika 3D-scener med narrativ baserade på environmental storytelling genom spår och ledtrådar. Dessa delades upp i tre färgvarianter vardera. En gul, en röd och en blå scen. Sammanlagt sex scenvarianter. Semi-strukturerade kvalitativa intervjuer utfördes sedan med 18 informanter som fick spela en av scenerna vardera. Detta för att ta reda på om informanterna uppfattade dessa scener olika beroende på scenens färgval. Resultatet visade på en eventuell påverkan av uppfattningen genom färger, men ytterligare informanter och data krävs för att kunna få fram några storskaliga slutsatser.

Este trabalho se resume ao estudo dos usos criativos da cor presentes nos discursos visuais contemporâneos, à luz da neurobiologia visual e da semiótica discursiva proposta por A. J. Greimas e seus colaboradores, com o propósito de compreender a diversidade das suas articulações expressivas e significações. Os discursos visuais e sincréticos selecionados nesta pesquisa como corpus de investigação das ocorrências dos usos criativos da cor correspondem a produções cinematográficas, animações, campanhas publicitárias e objetos de design, produzidos entre 1980 e 2012. Sem perder de vista o estado da arte dos sistemas cromáticos e das tecnologias química e digital, esta tese objetiva ampliar as conexões usualmente associadas aos efeitos sensíveis das composições cromáticas, integrando outros campos de investigação aos costumeiros estudos simbólicos e psicológicos da cor - a neurobiologia dos sistemas visuais e a semiótica plástica -, que complexificam a experiência estética, possibilitando uma análise qualitativa que colabora com os processos criativos. Sendo nossa hipótese a de que a restrição às teorias do simbolismo cromático leva designers, artistas, publicitários e todos aqueles que utilizam a cor em seus ofícios a possibilidades limitadas e muito previsíveis do uso das cores. A conclusão das análises comparativas, mostrando a diversidade de significados assumidos pela cor no corpus estudado, nos leva a confirmar que os usos criativos da cor vão além das associações simbólicas, e se articulam semissimbolicamente às tramas dos discursos, construindo significações particulares e inesperadas que cooperam com as mensagens e seus efeitos comunicativos. O presente trabalho se propõe a refletir sobre o papel da cor na construção do mundo visível contemporâneo, buscando diversificar e ampliar a discussão sobre os seus significados e as redes de relações que os mesmos estabelecem com os contextos visuais e discursivos, constituindo-se como uma alternativa para considerar os efeitos de sentido da cor e indicando caminhos para a sua exploração ampla e não dogmática, útil aos processos criativos.
This assignment involves the study of the creative uses of color present in contemporary visual discourses in light of the visual neurobiology and the discursive semiotics proposed by A. J. Greimas and his collaborators, in order to understand the diversity of its expressive relations and meanings. The visual and syncretic discourses selected in this research as the corpus to investigate the occurrences of creative uses of color are cinematographic productions, animations, advertising campaigns and design objects produced between 1980 and 2012. Without losing sight of state-of-the-art color systems and chemical and digital technologies, this thesis seeks to expand the connections usually associated with the sensitive effects of chromatic compositions, integrating other fields of investigation to the customary symbolic and psychological studies of color: the neurobiology of visual systems and plastic semiotic. These increase the complexity of the aesthetic experience, allowing a qualitative analysis that aligns with the creative processes. Since our hypothesis is that the restriction to theories of color symbolism leads designers, artists, advertisers and all those who use color in their professions to limited and very predictable possibilities of the use of colors. The conclusion of the comparative analyzes, showing the diversity of meanings carried by color in the studied corpus, leads us to confirm that the creative uses of color go beyond the symbolic associations, and are semi-symbolically related to the flow of discourses, constructing special and unexpected meanings that cooperate with the messages and their communicative effects. The present work intends to reflect on the role of color in the construction of the contemporary visible world, seeking to diversify and broaden the discussion about its meanings and the networks of relationships that it creates with the visual and discursive contexts, as well as establishing itself as an alternative to the thinking on the color sense effects and pointing the way to a wider extensive and non dogmatic exploration, which can be useful to the creative processes.

Today we live in a society that focuses more and more on the visual aspects. Visual identity is the most visible part of a company's communication with the outside world, yet it is relatively unexplored in the academic literature. The purpose of this paper is to investigate how consumers perceive brands based on their visual identity. The thesis will include a qualitative method, consisting of a semiotic image analysis and focus group interviews. The results show that the perception of the brand based on the visual identity depends on the expectations the consumer has about the industry. The visual identity of the chosen companies was considered refreshing, exciting and playful, which attracted consumers. But the more consumers became aware of their visual identity, the more skeptical they became.
Vi lever idag i ett samhälle som fokuserar alltmer på det visuella. Visuella identiteten är den mest synliga delen av ett företags kommunikation med omvärlden, ändå är den relativt ouppmärksammad i den akademiska litteraturen. Syftet med denna uppsats är att undersöka hur konsumenter uppfattar varumärken utifrån dess visuella identitet. Uppsatsen kommer inneha en kvalitativ metod, bestående av en semiotisk bildanalys samt fokusgruppsintervjuer. Resultaten visar att uppfattningen av varumärket utifrån den visuella identiteten beror på vilka förväntningar konsumenten har på den branschen. Den visuella identiteten hos de valda företagen uppfattades som uppfriskande, spännande och lekfullt, vilket attraherade konsumenterna. Men ju mera konsumenterna tog del av deras visuella identitet, desto mera skeptiska blev de.

This essay shows how Margaret Atwood’s novel The Handmaid’s Tale (1985) functions as a critique of patriarchal society as it depicts a dystopic, dismantled society where women are divided into societal groups on biological grounds. Based on socialist feminist literary theory, an analysis is carried out of two of the female characters, Offred and Serena Joy, who are both oppressed by a patriarchal, totalitarian government; an oppression that is manifested in different ways. Offred is used as a tool to provide children and Serena Joy is confined within the home. The focus of the analysis is on the oppression of these two characters by the patriarchal government through the removal of their rights due to their gender. Red and blue, the two colors used to mark their different societal groups, are analyzed to show how they affect the reader’s perception of these characters and how the novel demonstrates the division of women visually.
Denna uppsats visar hur Margaret Atwoods roman Tjänarinnans berättelse (1985) fungerar som en kritik mot ett patriarkalt samhälle. Denna kritik tar sig uttryck genom en dystopisk skildring av ett samhälle där kvinnor delas in i sociala grupper baserat på deras biologiska förutsättningar. Med utgångspunkt i socialistisk feministisk litteraturteori görs en karaktärsanalys av två av de kvinnliga karaktärerna, Offred och Serena Joy. De är båda förtryckta av det patriarkala, totalitära styret, ett förtryck som tar sig uttryck på olika sätt. Offred används som ett verktyg för att öka barnafödandet och Serena Joy är isolerad i hemmet. Analysen fokuserar på förtryckandet av de två karaktärerna baserat på borttagandet av deras tidigare rättigheter på grund av deras kön. Röd och blå, två färger som används för att markera deras sociala grupp, analyseras för att påvisa hur de påverkar läsarens uppfattning av karaktärerna och hur romanen rent visuellt kategoriserar kvinnor i olika grupper.

This thesis examines the role of the Manichean dualism, the pervasive colour symbolism of white as good and black as evil. It looks at the manifestation of this symbolism in representations of Christianity, and the subsequent implications for race and racism in Western society. Through images of Jesus Christ and the Virgin Mary, I posit that the Western conflation of holiness with whiteness is a primary means through which whiteness retains hegemony. I argue that Renaissance painting has had a pivotal role in privileging the white body through its hyper-whitening of both Jesus and Mary. Both figures emerge as improbable ideals of male and female whiteness, demonstrating the anxiety around the intersection of race, gender and religion. I am primarily interested in Mary and how the canon of Western art has didactically laid out the terms of her representation as a means of controlling the female body, dependant on the disavowal and whitening of her body. The privileging of religious Renaissance art results in the continued infection of the construction and reception of the Virgin's image as an ideal figure of feminine whiteness. As such, I analyze the lasting effects of the whitening of her image in the controversy surrounding the display of Chris Ofili's The Holy Virgin Mary (1996) at the Brooklyn Museum of Art, as well as her representation in Hail Mary (1985) and The Passion of the Christ (2004). These readings attempt to draw out the specious nature of the Manichean dualism of black and white, aiming to help in the creation of a space for alternative readings of race through the eyes of hegemonic society.

The thesis adopts a structural and systematic approach to the study and analysis of colour terms in Flaubert's fiction.The Introduction highlights how Flaubert has come to be regarded as a problematic writer and how much existing work on his colour terms is in some way lacking in clarity. I proceed to fill this gap in Flaubert studies by elaborating a method of analysis of colour terms which clarifies how meaning is produced by the text. The method of analysis comprises eight stages which are systematically worked through as one considers eleven variables, one or several of the latter coming into play at any stage in the method and which may influence the ultimate type and degree of value-charge carried by a colour term. The method and the variables should be thought of as one ensemble or a methodology for the analysis of colour terms in prose fiction. The methodology is highly refined and is without precedent in that I examine the dual exchange of figurative charging which is always operational between a colour term and its associated referent.The thesis is divided into five chapters where each text is studied separately. The Oeuvres de Jeunesse are experimental writings and Flaubert is testing the figurative potential of colour terms. The chromatic codification is mainly traditional, though a nascent private elaboration may be discerned. Madame Bovary represents the peak of literary perfection. All the novel's colours contribute to the overall illusion/reality dichotomy which lies at the heart of the text.

This paper explores the weight of color, with the focus lying on the symbolic significance ofcolor. Exploring whether color in itself conveys symbolic significance and is the symbolicsignificance of color permanent, or is it an after construction? It will be looking at differentareas such as what makes us humans able to perceive colors in the first place, beginning withan insight at some of the foundations in the area of color theory. Mentioning experiments ondecomposed white light, that contains the visible color spectrum and its contribution to theevolution of the color wheel. The color wheels contribution to the art world, the constructionof color harmonies and their significance. It will also be looking at some of the more commonsymbolical meanings of colors and its symbolic significance as color language. It will becovering previous research such as what the symbolic significance of color was under theElizabethan era, consequences when combining color and taste and finally an insight on thetheory of the emotion wheel and its conceptual design in combining emotions with color.There will also be a discussion part looking at the area of color therapy and thoughtsrevolving the subject. The second last part will revolve around my own observations andanalysis. Keeping in mind what I have explored in the earlier parts of this paper and using thatknowledge in my observations and analysis on three different methods utilising the symbolicsignificance of color, focused in the area of films. The last part of my paper will be the resultsof my exploration on the subject of symbolic significance of color and also a discussion part,with my own thoughts on the subject.

A logo lies central in an organisation's visual identity system and it is a way of communicating fundamental aspects about the organisation, such as the organisation personality or the organisation's mission and vision. The logo, or corporate visual identity, could be seen as the organisation's visual shorthand that summarises these fundamental aspects. A design element such as colour can be an expressive tool in terms of visual identity. The use of a particular colour in the logo of an organisation conveys a specific message about that company's identity and personality through the meaning and symbolism that is attached to the colour. The corporate colour scheme of an organisation can also aid in communication without being displayed in context of the visual identity. The combination of both verbal communication such as text, and visual communication such as images, through a design element like colour, could provide an effective method of conveying information. The nature of this study is descriptive. It examined the role played by colour in an organisation's visual identity as a communication tool. The study followed a qualitative approach, making use of a literature study and a case study approach. In the literature study, the role of the graphic designer, the visual identity and a design element like colour in the context of corporate communication were examined. The sources of evidence used for the case study approach, were questionnaires, as well as a colour analysis of the corporate colour schemes of each of the selected case organisations as utilised in their visual identities. The research project attempted to determine the role of colour as communication, as well as the motivation behind the use of a particular colour, should such a motivation exist, and the communication intended behind each colour. The project also attempted to determine the target markets at which the communication is aimed; the research done by each of the case organisations regarding colour symbolism and the suitability of the colour regarding the target markets; and the importance attached to colour as a communication tool. These questions were investigated through the use of the questionnaires. The colour analysis was done to function as a control mechanism to, for example, determine whether the intended message behind colour correlated to the perceived message as determined by the colour analysis. The results from the questionnaires and colour analysis used in the study showed that colour does play an important role in the selected case organisation's visual identities. The results of the study also found, however, that regardless of how important colour was viewed as a method of communication by the respondents, certain factors exist which influence the effectiveness of colour as a communication tool.
Thesis (M.A. (Communication Studies))--North-West University, Potchefstroom Campus, 2004.

This study represents five years of research on the symbolic cosmologies of four Plains Indian tribes: the Crow, the Pawnee, the Kiowa, and the Cheyenne. Although the lexicons of the four tribes reveal many color and number patterns, there appear to be certain color and number categories that are more pervasive than others. Review of the early ethnographies and folklore texts has found the color categories of red, yellow, black, and white to be significant symbols in both ritual and myth. Further investigation suggests symbolic patterns involving the numbers two and four are also important to the Crow, Pawnee, and Cheyenne. Kiowa ritual and folklore patterns reveal the numbers two, four, and ten to be dominant numbers. Through the early ethnographies, the color red and the number four, among others, were found to be symbolically significant. Red frequently symbolized the rank of a chief, a warrior, and a virtuous woman or wife. The number four often represented symbolic gestures or motions such as those seen in the arts of painting, dancing, or drumming. This symbolic linkage of color and number patterns has been expressed in rituals such as the Sun Dance and the Morning Star Sacrifice. The Sun Dance was practiced with variations by the Crow, Kiowa, and Cheyenne. The Pawnee practiced the Morning Star Sacrifice.
Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Anthropology.

The main objective of this thesis is to evaluate accuracy and precision of the machine vision system used to calibrate a prepared environment foroptical navigation. Rotationally independent optimized colour reference labels (symbols) creates an environment. Any number of symbols can be used. A symbol carries 8–bit (0 to 255) information, which can be designed for different values by using Matlab algorithms. An optical navigation system enters into the environment and captures thesymbols. The symbols are then decoded to determine the geographical positions of the symbols from reference position of the system by using Matlab algorithms. Then, the system is moved to a known position and the same set of symbols are captured, decoded and located. The process is repeated for several positions of the system to find precision and accuracy. Finally, the results are analysed.

Dans le domaine de l’optique, les savants ont réfléchi, depuis l’Antiquité, aux couleurs. Dans les beaux-arts, par sa nature accidentelle, la couleur a été traitée comme un élément inférieur au dessin. L’enseignement scolaire a suivi cette tendance. Cependant, au milieu du XIXe siècle, apparaissent divers ouvrages de vulgarisation traitant des couleurs. Leur point de vue est alors le savoir-vivre, l’éducation, l’ésotérisme, l’optique, l’art ou la technologie. Notre thèse a pour objectif de comprendre en quoi le traitement des couleurs est original dans les poèmes en vers de Rimbaud, en relation avec l’épistémè du XIXe siècle. Dans les poèmes de Rimbaud, les couleurs parlent du poète ; de son éducation, ses préoccupations, sa pensée politique ou religieuse et même l’enjeu poétique de son œuvre. Nous nous sommes concentré sur le symbole des couleurs, négligé jusqu’à présent, et sur les effets physiologiques et les impressions visuelles dont Goethe ou Chevreul ont traité. Rimbaud n’invente ni les couleurs spectrales, ni les correspondances entre sons et couleurs, ni le symbolisme des couleurs. Il s’inspire d’idées existantes, et les combine pour inventer une nouvelle langue poétique. Il superpose les couleurs symboliques provoquant des associations d’idées, aux couleurs spectrales. Dans « Voyelles », le poète implique sa méthode dans la description de l’arc-en-ciel, dans l’évocation sonore des lettres de l’alphabet grec et dans le symbolisme de cinq couleurs. L’originalité de sa démarche tient à la convergence de ses différents moyens d’expression. C’est cet emploi des couleurs qui contribue à la création d’une nouvelle langue poétique
In the field of optics, scientists have studied colors since ancient times. In Arts, because of its accidental nature, color is treated as a element lower than drawing. School education has followed this tendency to neglect the color. However, during the mid-nineteenth century appeared various books about colors, in the fields of etiquette, education, esotericism, optics, art and technology. Our objective is to find what makes the use of colors unique in the verse poems of Rimbaud, in consideration of the nineteenth century episteme. In his poems, colors speak of the poet; his education, his concerns, his political or religious thought and his poetics. We focused on the symbols of colors, which was neglected so far, and on the physiological effects and visual impressions treated by Goethe and Chevreul. Rimbaud do not invent neither the spectral colors, nor the correspondences between sounds and colors, nor color symbolism. He draws inspiration from existing ideas, and combines them to invent a new poetic language. He superimposes symbolic colors creating associations of ideas, on spectral colors, which maintain order in optics. In "Voyelles", he introduces his poetics through the description of a rainbow, the sonorous evocation of letter of the Greek alphabet, and the symbols of five colors. The originality of his approach lies in the convergence of its different means of expression. His use of color thus leads to the creation of a new poetic language.episteme. In his poems, colors speak of the poet; his education, his concerns, his political or religious thought and his poetics. We focused on the symbols of colors, which was neglected so far, and on the physiological effects and visual impressions treated by Goetheand Chevreul. Rimbaud do not invent neither the spectral colors, nor the correspondences between sounds and colors, nor color symbolism. He draws inspiration from existing ideas, and combines them to invent a new poeticlanguage. He superimposes symbolic colors creating associations of ideas, on spectral colors, which maintain order in optics. In "Voyelles", he introduces his poetics through the description of a rainbow, the sonorous evocation of letter of the Greek alphabet, and the symbols of five colors. The originality of his approach lies in the convergence of its different means of expression. His use of color thus leads to the creation of a new poetic language

The purpose of this work is to analyse the figurative and metaphorical meanings of colours in English and Italian, focusing on the analysis and comparison of colour idioms in these two languages and cultures. The study starting point is the assumption that language and culture are inextricably related: they influence and modify each other, and both contribute to shaping our world-view. English and Italian colour idioms will be presented, compared and contrasted. Each colour is introduced by its figurative meaning in the two cultures. It is also shown whether and how the symbolic meaning is reflected in idiomatic language. The approach to English and Italian idioms is contrastive in order to show cases of direct correspondence (i.e. same colour, same meaning), partial correspondence (i.e. different colour or different idiom but same meaning) and cases peculiar to each language that lack of an idiomatic equivalent in the other language.

C-uppsats vars huvudsyfte var att undersöka hur stor igenkänning människor har av företagsmärken utan att logotypen finns med. Genom att arbeta med både en kvalitativ och kvantitativ metod har vi fått fram våra resultat, detta genom att våra respondenter besvarade en enkät. Våra teoretiska perspektiv kommer från en blandning av olika ämnesområden, så som psykologi och informationsdesign med fördjupningar i bland annat perception, objektsigenkänning, symbolik och färgers betydelse. Genom våra undersökningar kom vi fram till att det inte finns något enkelt svar på huruvida märken känns igen eller inte. Bland våra utvalda märken var könsbundenheten låg, och ålder har viss betydelse för igenkänningen. Detta genom att äldre respondenter hade en högre igenkänning än de yngre.

Bachelor theses with the main purpose to investigate how well people recognize corporate brands without the logotype being present. We have achieved our results by using a mixture of both qualitative and quantitative methodology, and all of our collected data has been gathered through a survey. Our theoretical perspectives come from a variety of disciplines, such as psychology and information design, including perception, object recognition, symbolism and the importance of colours. After analysing our gathered data, we feel quite confident in claiming that there are no simple answers when it comes to our abilities to recognize corporate brands. We noticed that the gender of our respondents had none or very little impact when it comes to recognition, but age on the other hand was quite a large factor. We came to the conclusion that our older respondents recognized far more corporate brands than our younger respondents.

Abstract:Uniquely amongst the earliest writing systems, the Egyptian hieroglyphic script was sometimes enhanced by colouring the signs. This was not done in an arbitrary fashion, but was conventional, with each colour used in a conscious attempt either at materialism, naturalism, semi-naturalism or as a metaphor. This study aims to shed some light on the processes involved in writing in colour. The methodology, theory, analysis and extended commentary are to be found in Volume 1.The study shows that a polychrome canon was in use, in a remarkably coherent and stable fashion, during some two thousand five hundred years, from the Old Kingdom right through to the Ptolemaic period. A palaeography, showing the best examples of each hieroglyph together with a brief commentary, forms the whole of Volume 2. These exemplars are taken from a database of polychrome hieroglyphs: a collection of over three thousand six hundred signs extracted from fifty-two monumental inscriptions. They cover 67% of all the hieroglyphs found in Gardiner’s sign list. Those signs in the collection that possess coloured images can all be found in Volume 3. The palaeography is intended to be a practical tool, as is the application created in order to facilitate the navigation, consultation and update of the database.In the process of analysing this data, several commonly held ideas about colour symbolism and the identification of certain hieroglyphs were brought into question and rectified, where possible. However, many unanswered questions remain, leaving the door open to further fascinating research.
Doctorat en Langues, lettres et traductologie
info:eu-repo/semantics/nonPublished

Under de senaste åren har den mobila tekniken i stort sett helt gått över till smartphones. Smartphones är i princip mer datorer än telefoner, som vi alltid bär med oss och som innehåller allt mer känslig information. Detta medför att kraven på säkerheten kring enheten ökar. Detta arbete undersöker om det är möjligt att finna en ny metod att låta användaren autentisera sig på, som är säkrare än de som är vedertagna idag, men samtidigt har liknande nivå av användbarhet. Vår idé, som vi arbetar med under namnet Colour a Symbol, baseras på att kombinera symboler och färger i par. För att utveckla idén skapade vi en funktionell prototyp, som sedan utvärderadesmed hjälp av en mindre testgrupp. Empirin visar på att Colour a Symbol har en god användbarhet, om än något för lång inloggningstid. Idéer för att förbättra inloggningstiden presenteras. Teoretiskt sett så är Colour a Symbol säkrare än exempelvis pinkod, men testgruppen var inte tillräckligt stor för att kunna bedöma den praktiska lösenordsrymden. Utformning av symboltema påverkar även förmodligen i hög grad den praktiska lösenordsrymden. Vår slutsats är att idén har en klar potential, men att det behövs ytterligare studier för att finslipa den.
During the past years mobile technology has moved almost entirely to smartphones. Smartphones are in essence more computers than phones, which we always carry with us and that contain ever more sensitive information. This requires that the level of security around the device increases. This study strives to find a new method of authenticating users, that is more secure than those that are established today, but at the same time has a similar level of usability. Our idea, which we work with under the name Colour a Symbol, is based upon making combinations of symbols and colours in pairs. In order to develop the idea we created a functional prototype, that was evaluated by a smaller test group. The empirical data implies that Colour a Symbol has good usability, if only a little too long login time. Ideas as to shorten the login time are suggested. Theoretically, Colour a Symbol is more secure than for an example pincode, but the test group was not large enough to estimate the practical password space. Design of the symbol theme probably also affects the practical password space to a high degree. Our conclusion is that the idea has clear potential, but that further studies are needed to fine-tune it.

La présente thèse a pour point de départ une exposition florentine organisée en 1990 et intitulée « Pittura di luce ». Ses organisateurs entendaient désigner ainsi un courant de la peinture florentine du milieu du XVe siècle fondé sur la lumière et la couleur claire. Comme l’avait bien compris l’exposition, cette « peinture de lumière » est d’abord identifiable dans la « manière colorée » portée par Fra Angelico et Domenico Veneziano, mais elle doit aussi être élargie à une manière plus « blanche », qui va de Masaccio aux premières œuvres d’Andrea del Verrocchio, au début des années 1470. Les implications techniques et symboliques d’un tel style méritent également d’être étudiées car elles renforcent le sens et la cohérence d’un mouvement publiquement soutenu par les Médicis et dont l’ambition majeure fut de « faire surgir » les peintures religieuses de la pénombre des églises (I). L’étude du développement géographique vaste mais discontinu de la pittura di luce approfondit les hypothèses proposées dans le cas florentin : tout autant qu’une façon moderne et proprement « renaissante » de peindre, la « manière claire » est aussi fondée sur une lumière théologique, associée en partie à la religiosité franciscaine. Piero della Francesca est assurément le grand protagoniste de ce double rayonnement, dans les cours et dans les campagnes (II). C’est également Piero qui sera au cœur de la redécouverte d’une peinture que les XIXe et XXe siècles ont réappris à voir grâce aux historiens de l’art et aux artistes, mais également en raison du changement des conditions de vision des œuvres d’art. En ce sens, la pittura di luce constitue un chapitre important de l’histoire du regard, que l’on propose de rapprocher d’autres redécouvertes picturales elles aussi fondées sur la notion d’apparition (III)
This thesis starts from an 1990 Florentine exhibition called “Pittura di luce” which intended to identify a trend in the mid-15th-century Florentine painting. This “painting of light” is not only, as was said at the time, a “coloured style” led by Fra Angelico and Domenico Veneziano, but it should be extended to a more “white manner”, from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the “pittura di luce” is to make “emerge” religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this “bright style” amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the “pittura di luce” was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the “pittura di luce” is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar “paintings of apparition” (III)

Syfte: Att utformning av logotyp har stor vikt för företagets identitet är allmän känt, men detär minst lika viktigt för ett företag att ha en logotyp som kan förmedla deras budskap ut tillkonsument. Syftet med detta arbete blev därmed att analysera hur de atmosfäriska stimulivariabler,färg, typografi och symbol, påverkar konsumentens uppfattning av logotypensavsedda kundbudskap inom tjänsteföretag. Metod: Detta arbete grundades på ”mixed methods”, vilket är en kombination av kvalitativoch kvantitativ forskningsmetod. Den empiriska undersökningen skedde genom fyra styckensemistrukturerade intervjuer och därefter genomfördes en webbaserad enkätundersökning.Informationen som framställdes från intervjuerna användes för att utformaenkätundersökningen, och den population enkätundersökningen omfattades uppgick tillungefär 5 695 respondenter. Sedan analyserades inkomna enkätsvar med hjälp av enkorrelationsanalys och en klusteranalys, som skapades i programmet SPSS, och jämfördesmed tidigare teori samt företagens intervjuer. Resultat & slutsats: Företag kan ha budskap med goda motiveringar bakom dem, men trotsdetta finns svårigheter för respondenter att uppfatta dessa budskap genom endast en logotyp.Det är därför mycket möjligt att mer än en ensam logotyp behövs för att dessa budskap ska nåhela vägen fram, exempelvis en symbol eller slogan. Respondenterna uppfattar en logotypsom lättare att komma ihåg de gånger som färgen sticker ut, typsnittet är “utöver det vanliga”eller när logotypen innehåller en symbol. Examensarbetets bidrag: Undersökningens genomförande har tillfört både praktiska ochteoretiska bidrag, framförallt inom forskning som berör färg och typografi i logotypen. Bland annat har undersökningen visat att företag med god eftertanke och välmotiverade val kanförmedla flera budskap och deras affärsidé ut till konsument. Detta visar på att det inte endastär företags fysiska agerande som är av betydelse, utan lika stor del av konsumentensuppfattning om företaget ligger i företagets grafiska marknadsföring utåt. Förslag till fortsatt forskning: Ytterligare forskning kring de atmosfäriska stimulivariablernafärg, typografi och symboler i den grafiska profilen behövs. Att då undersökavilka färger som klassificeras som varma, kalla och neutrala inom olika områden, såsomSverige, Norden, Skandinavien och Europa, hade varit relevant. Likaså hade undersökning avi vilken utsträckning typsnitt med normal tjocklek och fet tjocklek påverkar läsbarheten varitintressant.
Aim: The design of a logo is of great importance to the company's identity, but it is equallyimportant for a company to have a logo that can convey their message to the consumer aswell. The purpose of this paper was thus to analyze how the atmospheric stimuli-variables,colour, typography and symbol affect the customer's perception of the logo's intendedcustomer messages within service companies. Method: This work was based on “mixed methods”, which is a combination of qualitativeand quantitative research methods. The empirical survey was conducted through foursemistructured interviews and an online survey was conducted. The information obtainedfrom the interviews was used to design the survey, and the population that the survey coveredamounted to approximately 5,695 respondents. Then, surveyed questionnaires were analyzedusing a correlation analysis and a cluster analysis, created in the SPSS-program, compared toprevious theory and corporate interviews. Result & Conclusions: Companies can have messages with good motivations behind them,but despite that it is difficult for respondents to perceive them through just one logo. Therefore, it is possible that more than a single logo is needed for these messages to reach allthe way, for example with a symbol or slogan. Respondents perceive a logo as easier toremember the times the colour stands out, the font is "beyond the usual" or when the logocontains a symbol. Contribution of the thesis: The study's implementation has added both practical andtheoretical contributions, especially in research related to colour and typography in logotypes.Among other things, the survey has shown that companies with good reflection and wellmotivatedchoices can convey several messages and their business idea to consumers. Thisshows that it is not only corporate physical activity that is important, but as much is perceivedin the company's graphic marketing towards consumers. Suggestions for future research: To carry out further studies on the atmospheric stimulivariables colour, typography and symbols in the graphic profile is needed. To investigatewhich colours classified as warm, cold and neutral in different areas, such as Sweden, Nordiccountries, Scandinavia and Europe, would been relevant. Similarly, examination of the extentto which fonts of normal thickness and fat thickness affect readability would be interesting.

Aide à la conception de légendes personnalisées et originales : proposition d'une méthode coopérative pour le choix des couleurs Les utilisateurs s'approprient aisément les outils cartographiques numériques pour se construire leur propre carte. Cependant, l'accès aux outils ne suffit pas pour concevoir une légende cartographique de qualité. Il est nécessaire de savoir comment faire de bons choix de représentation graphique, en particulier de bons choix de couleurs. Une expertise cartographique comportant des connaissances en sémiologie graphique et en perception des couleurs (contrastes et harmonies) est nécessaire : soit l'utilisateur possède ces connaissances, soit les outils doivent les lui apporter. Dans ce contexte, nous cherchons à aider les utilisateurs à concevoir des légendes personnalisées et originales, en nous concentrant sur l'aide au choix des couleurs. Nous proposons une méthode de conception coopérative en quatre phases reposant sur des interactions homme-machine : 1- choix d'une source d'inspiration, 2- acquisition des préférences de l'utilisateur sur les sources d'inspiration, 3- interprétation des préférences et construction de légendes adaptées, 4- retouche de légendes. Deux stratégies de conception sont envisagées en utilisant deux types de sources d'inspiration : des échantillons de carte et des toiles de maîtres. En partant du constat que des désaccords entre l'utilisateur et le système peuvent se produire, nous proposons d'utiliser des techniques de dialogue homme-machine pour améliorer l'adaptation du système à l'utilisateur. Le modèle de dialogue ainsi proposé est implémenté dans le prototype COLorLEGend (COLLEG)

Developpement d'une theorie des reseaux reguliers (qui permettent l'analyse directe des reseaux colores), fondee sur trois outils complementaires: la construction d'un graphe de marquages symboliques, le calcul des invariants lineaires et la definition de l'ensemble des reductions

碩士
淡江大學
西洋語文研究所
88
The “analogy of forms” method of interpretation has contributed tremendously to academic studies of matters linguistic and the pictorial. D. H. Lawrence especially invites the ‘analogy of forms’ interpretation because his novels overtly concern themselves with aesthetic currents and arguments. Women in Love, the author’s novel most strongly influenced by modern art, throws much light on Lawrence’s aesthetic development, which begins with color-oriented Impressionism, vibrant Post-Impressionism, subjective Expressionism, sensual Primitivism, and ends up with dynamic Futurism. Readers of Lawrence frequently observe that certain color patterns in Women in Love are prominently connected with the inner struggles of the protagonists. Thus, I have attempted to analyze in detail the six major characters in terms of their “color personalities” and show how each “color character” has been painted with a striking contrast between his or her dominant and complementary hues. Such comparison clarifies Lawrence’s consciously symbolic use of color to delineate and give depth to his main characters. With a view to enhancing a visual reading of the novel, I have also placed central emphases on character-portraits by relating them to Lawrence’s great interests in modern arts: Minimalist carvings, Picasso reproductions, Futurist paintings, industrial friezes, Dalcroze’s eurythmic dance, and Primitive African figurines. These African statuettes reflect Lawrence’s philosophical meditation on what he believed were two modes of being: the North-European “white” ethos, as seen in Gerald’s “ice-destructive knowledge,” and the “black” African ethos of dark sensuality, as manifested by the African statuettes. Neither is a healthy culture, for Lawrence is anxious for “an equilibrium, a pure balance of two single beings─as the stars balance each other.” I have tried to show how Lawrence’s painstaking use of color symbolism, and his great concern for modernist art, have been major forces in shaping and giving depth to Women in Love.

碩士
臺北市立大學
藝術治療碩士學位學程
103
The aim of the study is to understand some preliminary phenomenon of young children’s temperament and affective color symbolism, and to examine the differences of their relationship between the higher and lower grade group with data from 1083 participants in Taiwan, aged from 4 to 6 years old. Meanwhile, the gender and age differences of these young children’s temperament and their affective color symbolism are also been investigated. The method used in the study is questionnaire survey which includes CBQ-VSF and ACS. The results from statistical analysis are as followings: (1) In CBQ-VSF study, more surgency in male than female; more effortful control in female than male; and no gender difference in negative affectivity. There is a tendency of more apparent temperamental features with increasing age, but no significant difference. (2) In ACS study, there are significant gender differences between male and female in the most preferred, the least preferred, and the most powerful colors divisions, but not in the most vulnerable colors division. Between the different age groups, there are significant differences in the most preferred and the least preferred colors divisions. (3) There are significant differences between higher and lower grade groups in surgency and affective negativity, for their most preferred colors and the least preferred colors, as for effortful control, which only for their most preferred colors. Finally, quality and quantity combined studies are suggested to the future exploratory researchers. The author believes if more information and educational implications of children’s value judgments to color response are recognized, we can get more insights of their inner world.

Thesis (M.A.)--Florida State University, 2004.
Advisor: Dr. Lisa Waxman, Florida State University, School of Visual Arts and Dance, Dept. of Interior Design. Title and description from dissertation home page (viewed Jan. 19, 2005). Includes bibliographical references.

Text in Afrikaans with t.p. and summaries in Afrikaans and English
Limited research concerning a child's association between emotion and color is available, both in terms of the amount of research studies done as well as the generalization of the results for the purposes of the five year-old. This study's aim was to explore the individual, unique, symbolic meaning between the experiencing of emotion and color of the five year-old. Color was used as an expedient to facilitate the identification of emotion. The test sample consisted out of five, five year-old Afrikaans speaking children. The researcher developed a technique and used it to explore the above. The results of this study showed that the associations that five year-olds draw between emotions and color can't be generalized. The study further showed that color can be very helpful in the identification process of emotions when working with the five year-old child. The results of this study were compared to relevant previous research results and at the end the researcher made certain recommendations for further research concerning the subject.
Bestaande navorsing oor die assosiasie wat die kind vorm tussen emosie en kleur is beperk, beide in terme van die aantal navorsingstudies en in die veralgemeenbaarheid van die resultate ten opsigte van die vyfjarige kind. Hierdie studie het gepoog om die individuele, unieke, simboliese betekenis te ondersoek tussen die belewing van emosie en kleur by die vyfjarige kind. Dit het behels dat kleur as 'n hulpmiddel aangewend is, ten einde die identifisering van emosie te vergemaklik. Die steekproef het bestaan uit vyf, vyfjarige Afrikaans-sprekende kinders. 'n Tegniek, deur die navorser ontwikkel, is gebruik om die bogenoemde te ondersoek. Die resultate van hierdie studie het getoon dat kinders van vyfjarige ouderdom se assosiasies tussen emosies en kleur nie veralgemeen kan word nie. Die studie het verder getoon dat kleur 'n bruikbare hulpmiddel is in die identifisering van emosies by die vyfjarige kind. Die resultate van die studie is met vorige relevante navorsingsbevindinge vergelyk en bepaalde aanbevelings is gemaak vir toekomstige navorsing rakende hierdie onderwerp.
Psychology
M.Diac. (Play Therapy)

A dissertation submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Masters of Arts in Fine Art by Dissertation. Johannesburg 2016
Colour has always played an important role in South Africa; from the beginning of colonialism when “Africans” were converted to Christianity and baptised in white robes, to the bright colourful church garments that flood Soweto on Sundays. In the nineteenth century “Africans” began to reimagine their faith and spiritually. Seeking independence and a sense of identity, they began to fuse Western Christian ideologies with “African” spiritual beliefs and attire, which led to the origin of African Independent Churches (AIC). I aim to demonstrate how colour was not only used as a break away from colonial influences, but was also used to portray African spiritual beliefs and to create a distinctive “African” religious identity. This paper aims to study colour usage and it’s meaning within the South African context in order to show how colour use within Apostolic and Zionist movements relates to traditional African spirituality. The paper aims to show how colours used within both movements are symbolic and are thus used as spiritual codes. The paper will look at contemporary colours in order to show how Apostolic and Zionist movements continue to use colour to shape their spiritual identity.

碩士
國立臺灣藝術大學
美術學系版畫藝術碩士班
101
This paper aims to reflect the cultural characterization of the human spirit through both the definition of the symbols and colors and the inner meaning of the abstract. It tries to explore phenomenon of modern society, and to develop a particular perspective on the performance of the series of artwork. It consists of five parts based on the purposes of creation and the needs of research. They are as follows: Chapter I: Creative motive, research methods, explanation of terms as well as the plans of creation. According to the core idea of creation it explores the significance of abstract art, colors, and symbols to enhance the depth and breadth. Chapter II: Literature review. Abstract art in the early 20th century overturned the necessity to depict an object instead of the essence of existence. This chapter studies relevant theories and context. Chapter III: Artistic creative idea, creative techniques and media. This chapter describes the artistic the non-intuitive, subjective awareness, combined with the creative element of the figurative, color, geometry creation and re-interpretation of the creative content. Chapter IV: Artwork analysis. Under the geometric shaped of symbols, the series of works will show how to present the artist’s perspective of her artwork by the purest colors and the psychological implications of colors. Chapter V: Conclusion

碩士
靜宜大學
寰宇管理碩士學位學程
107
Color is one of the most important communication element in the modern world. It can represent natural objects, emotions, ideas, and cultural references. Depending on each society, context and time, their meanings can change, be completely different, and sometimes, contradictories. What in one culture can mean a positive message in another can be negative. In general, some studies confirm that there is a strong similarity between Chinese and Taiwanese culture, many authors have concluded that the culture that prevails in Taiwan is Chinese. Likewise, with respect to the psychological and symbolic meanings of the six basic colors from the color spectrum, Red, Orange, Yellow, Green, Blue, Purple; as well as Black and White. Taking Taiwanese culture and a sample of the young population as a case study, the goal is to analyze the current psychological and symbolic meaning among the perception of young Taiwanese and verify how accurate is the literature of colors in Taiwanese culture. In the results of this study, there were satisfactory and relevant findings, according to the perception of the participants between university ages. An important example is regarding the Red color, which in Taiwanese culture has a positive, happy and lucky meaning. However, in the perception of young people, it is more inclined mainly to a negative association. This is one of the few findings presented in this study. These results can be used to update the meaning of colors in Taiwanese culture and for all those who want to expand their knowledge and understand the relevance of colors in our personal and professional lives.

碩士
雲林科技大學
視覺傳達設計系碩士班
97
This project dealt with the colors and logos of 194 national flags in five continents, including 192 United Nations members through 2007, 2 non-UN members, Taiwan, and the Vatican City. Utilizing the collection of literature survey and the method of content analysis, this project discussed the meanings of the colors and symbols on those national flags. In the analysis of color distinction, we first collected the statistics of color distribution of red, orange, yellow, green, blue, black, and white on those national flags. Second, we discussed the meaning of each single color. Third, we distinguished the concept of each color in color combinations, which yellow-green-red indicated the color for Pan-African countries, red-blue-white for Pan-Slavic, and red-green-white for Pan-Arabic. The analysis found that the color of red on a national flag signified the blood of revolution, the sacrifice for independence, the sun, and Christianity. Only eight of 194 countries used the color orange on their national flags, to describe the country’s landscape. For example, orange represented savannas and deserts in Africa. Orange also represented Tibetan Buddhism, Hinduism, and Protestantism. Yellow meant the sun, wheat, or mineral. Yellow also represented Christianity and Buddhism. In terms of religion, the color green mostly suggested Islam, with the exception that in Ireland it represented Catholicism. Green on national flags for the countries in Europe, America, and Oceania was often used to illustrate agriculture, land, and forest resources. The color blue signified the river, the sky, or the ocean, especially in Oceanic countries. The color black on a national flag often conveyed the history of suffering; in the cases of American and African countries, black was a symbol of indigenousness and ethnicity. White stood for peace, purity, or for rivers and snowfalls in a country. In the analysis of logo category, we classified the logos into 15 groups–star, crescent, star and crescent, the sun, cross, animal, plant, traditional patterns, weaponry/tool, text, national emblem (badge), the country’s shape, geometric figure, crown, and others. Among them, the research found that the star logo was most commonly used, which totalled 68 countries, approximately 1/3 of the 194 samples. In addition, the logos for a national emblem/badge can be subcategorized into plants, animals, tools/gadgets, natural objects, human body parts, weaponries, shields, religious symbols, texts, abstract objects, and others. Consequently, a flag was prodigiously more significant than serving as an indicator of a country. A flag''s motif symbolized a plethera of characteristics pertaining to it''s country, which ranged from landscapes, climates, and terrains to belief systems, culture, and history. This project found that symbols, colors, and designs of a flag represented multiple meanings of a nation. This result suggested that the definitions for those symbols and colors were varied and complex. By analyzing the meanings of each color on national flag, this project not only discovered the use of traditional patterns in specific countries, but also the differences between the extensive meanings of flag colors, and the abstract concepts by color psychology in color science, which the research on the colors of national flag should be included.

碩士
靜宜大學
觀光事業學系
99
To integrate personality and the color preference, color image, and the dress preference would be a good way to find the linkage between the personality trait and the one’s characteristic. The methodology on the paper was following a qualitative approach, and adopted the In-depth interview to collect the sample information. Try to understand the real connecting on personality how to affect one’s the color preference and the dress preference, and the combination of clothing factor how to influence one’s impressions. The outcome of the paper inspired a new idea for recruiting techniques, and integrating with human resource strategy for the manufacturing industry and the service industry. The selected scope of the samples was concerning those managers who worked for the manufacturing industry and service industry and had interview experience more than three times in the past one year. The manufacturing industry and service industry included bank, carrying trade and electronics industry. And acting as a manager means those people perform were related the performance criteria, so could gather the information on how their profiles look like and what kind of cloth style would be good for applicants. The results showed that managers from difference industry would have difference color and dress preference, because of their personality and job characteristic. The manager from service industry would like the color tone of warm color, and the manager from manufacturing industry would like the color tone of neuter color, just like black, white, gray and brown. Moreover, the applicants’ cloth style wold be unconcerned with industry sype, it would be appropriate for the color tone of cold color and neuter color; but for position, there were there kind of position class, only the base level staff’ cloth style would be affect to industry sype. The contribution of this research was to generalize a deeper understanding on personality how to affect one’s the color preference and the dress preference, and the combination of clothing factor how to influence one’s impressions, and how to scheme the suitable type of employees’ cloth style to those manufacturing industry and service industry. The research could help managers to develop a new HR recruitment criterion and to be a relevant reference for applicants.

TITLE: The etymological analysis of colour names and related idioms AUTHOR: Anna Hořejší DEPARTMENT: Department of the French language and literature SUPERVISOR: Mgr. Jiří Jančík ABSTRACT: This diploma thesis concerns the etymological analyses of colour names in the French language and related idioms. In the theoretical part we present the basic linguistic terminology necessary for the accomplishment of the etymological analyses; the practical part concerns the analyses itself. The objective of the thesis is to deeply analyze the six basic colours both from the etymological and symbolic point of view. Furthermore, the thesis concerns the etymological analyses of colours the names of which are to some extend specific and remarkable. We talk about colours like: fox tail, bonbon, the Berlin blue, tea, khaki, pearl or snow, divided into groups according to the word they contain (colours containing a name of an animal, food, liquid, material, the place of origin, etc.). These colours are examined not only etymologically; we are also interested in the reason for which they are called so. In the last part of the thesis we scrutinize also idioms containing a name of a colour; we talk about idioms like white night, yellow danger, to be bad like a red donkey, cordon bleu or green tongue. In this case, our goal is to...

碩士
國立臺灣師範大學
設計研究所
95
Abstract The thesis is examined the meaning of color with the culture aspect. According to using of the color, it helps us condense the relation of focuses and clarify information. Color using become the main part of our daily life and play a big role in cultural. The color questionnaire designs, according to Doctor Isaac Newton's color theory (1666) and Berlin and Kay (1969 Basic Color Terms) these two books main study, show that the human color language is base on only 11 basic colors. By passing out the questionnaires to male and female Taiwanese and American, we can try to understand the color under different nationalities and condition of the sex. Furthermore, In order to understand the color role in difference culture, I pick my Taiwan participants from Chinese department in National Taiwan Normal University, and American participants were picked from University students, who come from National Taiwan University, National Taiwan Normal University and National Chengchi University and stay in Taiwan less than one year. The total number of questionnaire is 200: Taiwan 100 participants, which includes 50 males and 50 females and American 100 participant’s 50, which includes males and 50 females, too. Later on I would collect and compile the statistics into the covariance table of concrete and abstract color. The result shows that the white color delivers Taiwanese the feeling of milk, rabbit, and the good person with elegance, while it brings American the feeling of hospital, pearl, virgin and fearfulness. The black color brings Taiwanese the feeling of hair, night, loneliness and villians while it gives to American the feeling of black person, awfulness, nobleness and devil. The red color gives Taiwanese the feeling of red envelope, wedding and fortune, while it gives to American feeling of war, blood, devil and lipstick. The yellow color gives Taiwanese feeling of emperor, taxi, power, and caution, while it gives to American feeling of sunshine, gold, animation and power. The green color gives Taiwanese feeling of garden, forest, freshness and mettlesome feeling, while it brings to American feeling of U.S. dollar, nature, hopefulness and regeneration. The blue color gives Taiwanese feeling of sky, ocean, power and freedom, while it gives to American feeling of space, the earth, mysterious and isolating feeling. The brown color gives Taiwanese feeling of coffee, earth, mud and dirtiness, while it gives to American feeling of beer, chocolate and lion. The gray color gives Taiwanese feeling of metal, road, industrialism and impureness while it brings to American feeling of silver, newspaper, senility and murkiness. The purple color gives Taiwanese feeling of grape, noble and the flower fragrant while it gives to American feeling of grape, heavenliness and eternity. The pink color gives Taiwanese feeling of woman, Hello Kitty, love and amiability, while it gives to American feeling is gay, little girl and heat. The orange color gives Taiwanese feeling of tangerine, anger and the guests in Taiwan, while it gives to American feeling of pumpkin, happiness, and vitality. From the questionnaire we have learned, under assigning to the conditions of the race, sex, prove people's feeling to color, color has a great influence toward culture of the external living environment. For example, with the fast grown globe media, liberalism and development and world communicate, when speaking of green, "US dollars” will come to most of our minds immediately. American currency money is public known. Therefore, it causes people's association of thought to "green”. Other colors also have big impact to the globe, like the pink color. This color makes people associate with Hello Kitty. Hello Kitty is the virtual person image created by Japan. However, because of the open world trades, the information of the product has a great deal of propagation at the media, on the vision of living environment, becoming a great deal of understood by people. It even also makes large quantity in daily life articles and causes Hello Kitty and the pink inseparable. Key word: color theory, color aesthetics, color consciousness, color psychology

碩士
中國文化大學
美術學系
104
"Artists are artists, who recognized the truth and put the truth in the correct form for us to contemplate and touch our feelings.”Art, mainly means the creators combine the emotion, expression, creativity and culture of the times. Art also made the artist create independently a spirit products to combine the reflection of life. The theme of the painting “Flowers”has been used for a long time. This topic under the old artists is more than describing the viewing of flowers. "Flowers - color memories and combinations”that I want to discuss the different on the flower-painting history between the East and the West and the influence of coming painters on me. And I hope it can bring out a brand new creaction through the traditional memory colors. “Flower”is not only the mood transmitter but also plays an extremely important role on the expression of feelings whether joyful or sad. Through the beauty of flowers and the symbol of emotions bring out my work. Under the content of paintings, the meaning of flowers, the symbol of colors, skill and material all that make my work and express how deeply I feel about the flowers.

碩士
國立臺灣科技大學
工業管理系
92
Two experiments were conducted to investigate the effects of color combination on subjective preference, glance legibility and EEG response of symbols. The first experiment evaluated subjective preference of target/background color combinations of the symbols. The result showed that white was rated greaten than other colors. The more preferable color combinations were black/white, white/blue and red/white. while red/purple and white/yellow was less preferable. A significantly positive correlations (r = 0.57). was found between subjective preference and color difference of color combinations. The second experiment investigated the effects of color combinations on glance legibility and EEG response. The results showed: 1.The color combinations of greaten subjective preference had better glance legibility . 2.The latency of P100 for color combinations of greaten subjective preference was faster than those of less subjective preference. 3.The mean amplitude of P300 was larger when the duration of stimulant presentation was shorter. The result of this study showed that color combinations had significant effects on glance legibility, subjective preference and EEG.

The practical part of diploma work consist of five figurative paintings, medium and bigger sized, made with acrylic colors on the canvas. The whole painting set is called `` Touches{\crqq}. The reflection principle goes trough the entire work and is also the name of subtitle. The reflection is important in a symbolic sense while choosing particular motives and colorful paintings. The work is inspired by the book Golden age written by Czech contemporaneous author Michal Ajvaz. In written section of diploma work the reader gets better idea about the work and each motif as well. There is a description of artistic aims, symbolic, colorness, painting techniques and used material.