Relevant bibliographies by topics / Colour symbolism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Colour symbolism'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Colour symbolism"

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Parikh, Kashyap. "Colour Symbolism - Emotional Values of Colour." Indian Journal of Applied Research 3, no. 1 (October 1, 2011): 65–66. http://dx.doi.org/10.15373/2249555x/jan2013/26.

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Noor Al-Huda Kadhim Hussein, Asst Prof Qasim Abbas Dhayef,. "A Pragmatic-Semantic Study of Colour Symbolism in English and Arabic Literary Texts." Psychology and Education Journal 58, no. 1 (January 1, 2021): 2180–85. http://dx.doi.org/10.17762/pae.v58i1.1095.

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Symbolism in general and colour symbolism in particular have not received the linguists' attention in the same way studied by literary critics. Thus, the present study is an attempt to limit this gap by studying colour symbolism linguistically to answer the following questions: (1) What is the most flouted maxim in colour symbolism in literary texts in English and Arabic? (2) Is colour symbolism context-dependent in literary texts? (3) What are the semantic aspects of colour symbolism in the literary texts selected? Thus, the present study aims at: (1) Pinpointing the most flouted maxim in colour symbolism in literary texts in English and Arabic. (2) Determining whether colour symbolism is context-dependent in literary texts. (3) Investigating he semantic aspects of colour symbolism in the literary texts selected. To achieve its aims, the present study hypothesizes that: (1) The maxim of manner is the most flouted maxim in colour symbolism in English and Arabic literary texts. (2) Colours symbolize different things in different contexts. (3) There are certain semantic aspects for colour symbolism manipulated in the literary texts such as using metaphor and conveying the connotative meaning of colours. Then, in order to achieve the aims of the study and test its hypotheses, the following procedures are adopted: (1) Presenting a theoretical background about colour symbolism in general and colour symbolism from a linguistic point of view. (2) Analyzing (six) extracts of literary texts according to an eclectic model based on Eco’s (1984) model Semiotics and the Philosophy of Language and some semantic aspects. The data of the present study is collected from Nathaniel Hawthorne and Wassini Al-A'erj novels "The Scarlet Letter" and "انثى السراب" Ontha Al Sarab" respectively. The study has come up with certain conclusions that prove the above set hypotheses.
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Garunova, Saida Magomedkhanovna, Robert Chenciner, and Magomedhan M. Magomedhanov. "COLOUR AND SYMBOLISM IN DAGHESTAN FOLKLORE LITERATURE AND CARPETS - A FRESH LOOK." History, Archeology and Ethnography of the Caucasus 14, no. 3 (December 15, 2018): 109–26. http://dx.doi.org/10.32653/ch143109-126.

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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 litera- ture, 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 meth- od: 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.
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Petru, Simona. "Red, black or white? The dawn of colour symbolism." Documenta Praehistorica 33 (December 31, 2006): 203–8. http://dx.doi.org/10.4312/dp.33.18.

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In this paper the use of the pigments in the Paleolithic is presented, and some ideas of the symbolic meaning of colours are suggested. The colour red might have been a symbol of transformation, and as such, it was used in burials and for painting the Venus figurines. In the Slovenian Paleolithic, there is scant evidence of importance of colour and only a few finds of stones used for the grinding of the red pigment have been found.
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Jones, Andrew. "Local Colour: Megalithic Architecture and Colour Symbolism in Neolithic Arran." Oxford Journal of Archaeology 18, no. 4 (November 1999): 339–50. http://dx.doi.org/10.1111/1468-0092.00088.

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Cobb, Charles R., and Eric Drake. "The Colour of Time: Head Pots and Temporal Convergences." Cambridge Archaeological Journal 18, no. 1 (February 2008): 85–93. http://dx.doi.org/10.1017/s0959774308000097.

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Colour symbolism permeated the world of indigenous North America. This symbolism was often tied to the cosmos where the earth was viewed as a quadrilateral disk and each of the four cardinal directions was linked with a colour array such as red, white, black, and blue. We suggest that the recurring use of certain colours and colour contrasts comprised a suite of long-term historical practices that were essential for reproducing certain views about the world and about being in the world. Further, the rendering of colour had a plasticity that allowed it to enter a discourse about daily life that was intertwined with notions of the long-term. As a case study, we focus on well-known ceramic head effigies in the central Mississippi Valley to argue that their veneers of contrasting red and white were imbued with a notion of time immemorial that converged with other conceptions of temporality, most importantly, a pressing concern with regional violence, personal safety, and spiritual integrity.
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Rana, Poonam R. L. "Symbolism behind Art and Colour denoted on the Buddhist Prayer Flags." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (December 1, 2019): 54–61. http://dx.doi.org/10.3126/sirjana.v6i1.39673.

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Sacred Prayer Flags of different colours and symbols are not just decorative pieces. Symbols have more deeper meaning and the attached intangible beliefs than their mere outer creativity. Each and every colour and objects symbolizes good fortune, health, happiness, protection. The prayer flags are very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. Hence the painted or printed objects and colours are of great values to humanity.
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Bawej, Izabela. "O kolorach miłości w języku polskim i niemieckim (Aspekty językowo-kulturowe)." Acta Universitatis Lodziensis. Folia Germanica, no. 14 (September 25, 2018): 67–81. http://dx.doi.org/10.18778/1427-9665.14.07.

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The article describes six basic colour terms and their connotations concerning love on the basis of love between a woman and a man by prism of Poles and Germans.The analysis covers selected expressions with a colour element connoted a feeling of liking someone combined with sexual attraction to answer following questions: What colour does love have in Polish and German? What are physiological sources of the symbolism of love’s colours in Polish and German culture? Is the perception of love similar or different in both languages?
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Hayward, Maria. "Dressed in Blue: The Impact of Woad on English Clothing, c. 1350–c. 1670." Costume 49, no. 2 (June 1, 2015): 168–85. http://dx.doi.org/10.1179/0590887615z.00000000074.

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This paper seeks to explore the changing importance of blue colours, blue dyes and woad in particular in England in the late Middle Ages and early modern period. It does so by considering six themes — the popularity and fashionability of blue; blue and its significance within the Order of the Garter; blue as a colour worn by the lower social groups and its association with poverty and livery; colour symbolism of blue; blue and court entertainments; blue and the liturgy — but it will start with a review of blue colours and blue dyes.
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Lee, Hwa-Young. "The colour symbolism in Wolfram von Eschenbach's Parzival." JOURNAL OF HUMANITIES STUDIES 109 (December 31, 2017): 361–79. http://dx.doi.org/10.46346/tjhs.109..15.

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Dissertations / Theses on the topic "Colour symbolism"

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Wang, Tao. "Colour symbolism in late Shang China." Thesis, SOAS, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309360.

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Slavík, Jan. "Dance of colours : basic patterns of colour symbolism in Mahāyāna Buddhism /." Göteborg : Göteborg univ, 1994. http://catalogue.bnf.fr/ark:/12148/cb37018318c.

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Tipper, Paul Andrew. "Colour symbolism in the works of Gustave Flaubert." Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:3814.

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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.
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Fouché, Elizma. "Colour as communication in selected corporate visual identities / Elizma Fouché." Thesis, North-West University, 2003. http://hdl.handle.net/10394/335.

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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.
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Owyang, Angela. "The Influence of Cinematic Elements in Pierre Jodlowski's Works Based on Colour." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/314684.

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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.
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Alm, Kristin, and Alice Öberg. "Logotyper och företagsmärken : Att lägga märke till märkliga märken." Thesis, Mälardalen University, Department of Innovation, Design and Product Development, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-349.

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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.

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Nunn, David. "Shades of Meaning :A Semiotic Approach to the Use of Polychromy in Egyptian Hieroglyphic Inscriptions." Doctoral thesis, Universite Libre de Bruxelles, 2018. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/264344.

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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
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Kappel, Caroline J. "Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1195707359.

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Rowley, Neville. "Pittura di luce. La manière claire dans la peinture du Quattrocento." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040197/document.

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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)
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Jackson, Veda Kimber. "It's all about color: an analysis of color symbolism in Toni Morrison's Sula and the bluest eye." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2011. http://digitalcommons.auctr.edu/dissertations/204.

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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.
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Books on the topic "Colour symbolism"

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Dee, Jonathan. Colour therapy: [the symbolism, use and healing effects of colour]. Leicester: Silverdale Books, 2002.

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Ohtsuki, Minoru. A cognitive linguistic study of colour symbolism. Tokyo: Institute for the Research and Education of Language, Daito-Bunka University, 2000.

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Slávik, Ján. Dance of colours: Basic patterns of colour symbolism in Mahāyāna Buddhism. Göteborg: Etnografiska Museet, 1994.

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Jan, Slavik. Dance of colours: Basic patterns of colour symbolism in Mahāyāna Buddhism. Göteborg: Göteborgs Etnografiska Museum, 1994.

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Locher, J. L. Piet Mondrian: Colour, structure and symbolism : an essay. Bern: Gachnang & Springer, 1994.

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Cronin, Richard. Colour and experience in nineteenth century poetry. Basingstoke: Macmillan, 1988.

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Colour and experience in nineteenth century poetry. Basingstoke: Macmillan, 1988.

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Cronin, Richard. Colour and experience in nineteenth-century poetry. Houndmills, Basingstoke, Hampshire: Macmillan Press, 1988.

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Chroma :a book of colour - June '93. London: Century, 1994.

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Michaud, Roland. Colour and symbolism in Islamic architecture: Eight centuries of the tile-maker's art. London: Thames and Hudson, 1996.

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Book chapters on the topic "Colour symbolism"

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Beneš, Nikola, Luboš Brim, Samuel Pastva, and David Šafránek. "Symbolic Coloured SCC Decomposition." In Tools and Algorithms for the Construction and Analysis of Systems, 64–83. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72013-1_4.

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AbstractProblems arising in many scientific disciplines are often modelled using edge-coloured directed graphs. These can be enormous in the number of both vertices and colours. Given such a graph, the original problem frequently translates to the detection of the graph’s strongly connected components, which is challenging at this scale.We propose a new, symbolic algorithm that computes all the monochromatic strongly connected components of an edge-coloured graph. In the worst case, the algorithm performs $$O(p\cdot n\cdot \log n)$$ O ( p · n · log n ) symbolic steps, where p is the number of colours and n the number of vertices. We evaluate the algorithm using an experimental implementation based on Binary Decision Diagrams (BDDs) and large (up to $$2^{48}$$ 2 48 ) coloured graphs produced by models appearing in systems biology.
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Bonds, Alexandra B. "The Symbolism and Application of Color." In Beijing Opera Costumes, 69–87. New York, NY: Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315146195-4.

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Benson, Michael L., and Sally S. Simpson. "The Symbolic Construction of Opportunity." In White-Collar Crime, 155–79. Third Edition. | New York : Routledge, 2018. | Series: Criminology and justice studies series | Revised edition of the authors’ Understanding white-collar crime, 2015.: Routledge, 2017. http://dx.doi.org/10.4324/9781315267609-11.

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Pittock, Murray. "Sedition, Symbols, Colours, Cant and Codes." In Material Culture and Sedition, 1688–1760, 59–92. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137278098_3.

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Gögelein, Christoph. "The Theory of Color as the Symbolism of Insight." In Goethe and the Sciences: A Reappraisal, 247–54. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-009-3761-1_13.

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Bittar, Eduardo C. B. "Semiotics, Symbols and Politics: Between Flags, Crises and Disputes in National States." In Flags, Color, and the Legal Narrative, 65–84. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-32865-8_4.

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Bankov, Kristian. "Flags, Identity, Memory: From Nationalisms to the Post-truth Uses of Collective Symbols." In Flags, Color, and the Legal Narrative, 173–89. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-32865-8_9.

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Li, Yitian, Haiyan Wang, Yafeng Niu, Yi Xie, Bingzheng Shi, and Ruoyu Hu. "Research on Color, Luminance and Line Width of HUD Symbols." In Human Systems Engineering and Design II, 325–30. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27928-8_49.

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Ramsamy-Iranah, S., S. Rosunee, and N. Kistamah. "Introducing Assistive Tactile Colour Symbols for Children with Visual Impairment: A Preliminary Research." In Designing Around People, 65–74. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-29498-8_7.

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Arthur, Catherine E. "Flying the Nation’s Colours: Commemorations of the Past and the National Flag of Timor-Leste." In Political Symbols and National Identity in Timor-Leste, 37–69. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98782-8_2.

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Conference papers on the topic "Colour symbolism"

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Mikitchenko, Elena. "Effect of Colour Symbolism of Native Culture on Image Display in Association Experiment." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.164.

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Radchenko, G. v., and N. A. Ostapchuk. "The colour symbolism of lexical repetitions in Russian translations of F.G. Lorca’s poems." In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-225-228.

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Newton, Rachel. "Color-form meanings: interconnections between perception, association and symbolism." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464581.

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Varela, Diana. "Color and symbology: symbolic systems of color ordering." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464646.

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Pibernik, Jesenka, Tamara Tomašegović, Sanja Mahović Poljaček, and Anđela Madžar. "Consumer’s experience of tea packaging as environment-friendly." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p35.

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Abstract:
The packaging design is perceived as environmentally friendly when deploying established “green” conventions for design, materials, form, colours, and symbolism. The paper aims to determine which tea packaging design choices mainly influence consumer's impression of eco-friendliness. After the sustainable solutions for packaging form were examined, additional attributes of sustainability in terms of the materials were established. These were the shape of the packaging for the ease of use, closing solution, content visibility, printing paper perception, and other use-friendly attributes. Upon experimenting with six versions of prototype designs, following the guidelines of user-centered design, the final prototype has been selected for further development and testing. The alternatives for appropriate printing ink, printing pressure, and substrate were tested on various paper samples. Due to the various recycled substrate’s surface colours and morphology, the flexographic printing process resulted in various shades of image colours and line sharpnesses. To determine correlations between different attributes and make a final design decision, the subjective quality assessments were implemented.
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Florou, Giannoula. "Color image processing using symbolic data analysis." In SPIE's 1996 International Symposium on Optical Science, Engineering, and Instrumentation, edited by Andrew G. Tescher. SPIE, 1996. http://dx.doi.org/10.1117/12.258232.

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Kuksa, P. V. "Visual and color symbolism in the novel by M.A. Sholokhov "Quiet Don"." In Scientific Trends: Philology, Culturology, Art history. TsNK MOAN, 2019. http://dx.doi.org/10.18411/spc-26-07-2019-01.

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Iiba, Saki, Ayano Shiga, and Maki Sakamoto. "A method to propose color associated with onomatopoeia based on sound symbolism." In 2012 Joint 6th Intl. Conference on Soft Computing and Intelligent Systems (SCIS) and 13th Intl. Symposium on Advanced Intelligent Systems (ISIS). IEEE, 2012. http://dx.doi.org/10.1109/scis-isis.2012.6505263.

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Vese, Luminita, and Stanley Osher. "Color Texture Modeling and Color Image Decomposition in a Variational-PDE Approach." In 2006 Eighth International Symposium on Symbolic and Numeric Algorithms for Scientific Computing. IEEE, 2006. http://dx.doi.org/10.1109/synasc.2006.24.

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Songwen Pei, Guobo Li, and Baifeng Wu. "Codec System Design for Continuous Color Barcode Symbols." In 2008 IEEE 8th International Conference on Computer and Information Technology Workshops. CIT Workshops 2008. IEEE, 2008. http://dx.doi.org/10.1109/cit.2008.workshops.9.

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Reports on the topic "Colour symbolism"

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Van Orden, Karl F., Joseph Divita, and Matthew J. Shim. Redundant Use of Luminance and Flashing with Shape and Color as Highlighting Codes in Symbolic Displays. Fort Belvoir, VA: Defense Technical Information Center, June 1993. http://dx.doi.org/10.21236/ada268692.

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