The Chinese five-element color concept is an analysis of color that has been deposited inlabor production and cultural innovation by the Chinese nation for thousands of years. Itcontains the ...humanities and social culture of China for thousands of years, and a colorphilosophy recognition system with distinctive national cultural characteristics. This articleaims to summarize the essence of the five-element color view through the study of theChinese five-element color view, and explore the application of the five-element color view inthe Chinese restaurant space.
Color occupies a prominent place in the bibliography of cartography, as it is an important element in the formation of cartographic symbolization. Apart from the technical issues of its application ...to maps, color theory is one of the elements that connect maps with art. In this paper various cartographic trends and their origins are examined and correlated with the artistic periods in which they were developed in order to investigate and document the extent to which maps follow the artistic movements and, particularly in the art of painting, concerning the form and the content of the maps and whether color can be used as an identification element of the art trend and the corresponding period. The research spans from the end of the Middle Ages to the 21st century and is referred spatially in Western Europe, including Italy. The comparison of colors is made in both descriptive and quantitative terms through the commentary of hue, brightness, and saturation, as well as through plotting them in the color wheel, a process that allows an overview of the range and location of color sequences. Concluding, the paintings and maps that were selected and examined in detail support the effect of painting on maps, without implying that it is intentional.
Late medieval English uroscopy diagrams depict twenty colors of urine in bright, often garish, colors and gold leaf, arranged in correspondence to digestive states. This article argues that the use ...of color in these diagrams reveals medieval ideas about the perception of color more broadly, and that the images themselves could train practices of comparative looking and visual judgment. Appearing in multiple formats, these images facilitated the theorization and practice of uroscopy-the diagnosis of an ailment by the appearance of a patient's urine-and survive in large numbers from late medieval England. Diagrams accompany treatises that describe at length the humoral causes, physical symptoms, and particular appearances of different colors of urine. Medieval digestive theory held that changes in the relative proportion of heat, cold, moisture, and dryness in the blood caused qualitative changes in the look of substances such as urine. Accounts of the appearance of bodily evidence in uroscopy treatises, however, relied on a slippery network of color descriptions and comparisons of colors of urine with other colorful objects. Diagrams made these relationships not only legible but also instructive. In juxtaposing text and image, this article incorporates uroscopy-perhaps the best documented medieval practical application of ideas about color-into broader discussions of medieval color theory.
With the invention of eyeglasses around 1280 near Pisa, the mundane medium of glass transformed early modern optical technology and visuality. It also significantly influenced contemporaneous art, ...religion, and science. References to glass are found throughout the Bible and in medieval hagiography and poetry. For instance, glass is mentioned in descriptions of Heavenly Jerusalem, the Beatific Vision, and the Incarnation. At the same time, a well-known Islamic scientific treatise, which likened a portion of the eye’s anatomy to glass, entered the scientific circles of the Latin West. Amidst this complex web of glass-related phenomena early modern Italian artists used glass in some of their most important artworks but, until now, no study has offered a comprehensive consideration of the important role glass played in shaping the art of the Italian Renaissance. Seeing Renaissance Glass explores how artists such as Giotto, Duccio, Nicola Pisano, Simone Martini, and others employed the medium of glass—whether it be depictions of glass or actual glass in the form of stained glass, gilded glass, and transparent glass—to resonate with the period’s complex visuality and achieve their artistic goals. Such an interdisciplinary approach to the visual culture of early modern Italy is particularly well-suited to an introductory humanities course as well as classes on media studies and late medieval and early Renaissance art history. It is also ideal for a general reader interested in art history or issues of materiality.
How does a picture teach a viewer to look at it, understand it, and make meaning? (The theoretical basis of this article and elements of its expression have been drawn from Peter Pericles Trifonas. ...(1998). "Cross-mediality and narrative textual form: A semiotic snalysis of the lexical and visual signs and codes of the picture bnook." Semiotica, 118 (1/2): 1-70 and Peter Pericles Trifonas. (2015). "Texts and images." In International handbook of semiotics, Vols. 1&2, edited by Peter Pericles Trifonas. The Netherlands: Springer. Pp. 1139-1154.) The suggestion for a pictorial grammar has been derived from the fact that pictures have no unique visual metalanguage and therefore require recourse to language as an instrument for pictorial analysis. The lexical-visual relationship in a text is more complex than is suggested in the question. Proponents for the semiotic autonomy of pictures have objected that the commentaries of crossmedial contexts have not asserted the semiotic priority of the lexical over the visual message. 'Is an autonomous semiotics of visual perception possible, or does the semiotic analysis of pictorial text always require recourse to the model of language?'
A Arte do Design Saiani Strini, Mariana; Pereira de Andrade, Ana Beatriz
Cuadernos del Centro de Estudios en Diseño y Comunicación. Ensayos,
2022
159
Journal Article
Odprti dostop
In view of the world pandemic scenario, it has become increasingly necessary to create mechanisms that help the population to assimilate feelings better. Thinking about it and using color psychology ...and Interaction Design theories, this project presents the study of the relationship that can be made between feelings and colors. The aim of this work is to analyze this relationship and create a graphic representation of each of the feelings. For this, a website was developed that works as a photo booth that proposes a synesthetic experience with colors.
Diante do cenário de pandemia mundial, tem se tornado cada vez mais necessária a criação de mecanismos que ajudem a população a assimilar melhor os sentimentos. Pensando nisso e utilizando a psicologia das cores e as teorias do Design de Interação, esse projeto apresenta o estudo da relação que pode ser feita entre os sentimentos e as cores. O objetivo deste trabalho é analisar essa relação e criar uma representação gráfica de cada um dos sentimentos. Para isso foi desenvolvido um website que funciona como uma cabine de fotos que propõe uma experiência sinestésica com as cores.
Ante el escenario de pandemia mundial, se hace cada vez más necesario crear mecanismos que ayuden a la población a asimilar mejor los sentimientos. Pensando en ello y utilizando la psicología del color y las teorías del Diseño de Interacción, este proyecto presenta el estudio de la relación que se puede establecer entre sentimientos y colores. El objetivo de este trabajo es analizar esta relación y crear una representación gráfica de cada uno de los sentimientos. Para ello, se desarrolló un sitio web que funciona como fotomatón que propone una experiencia sinestésica con los colores.
In der italienischen Kunstproduktion und Kunsttheorie der Renaissance bezieht sich der Terminus chiaroscuro in erster Linie auf die Artikulation plastischer Werte, auf das Formulieren eines rilievo. ...Rilievo meint hier ein innovatives Gestaltungsprinzip, das den Eigenwert der mittelalterlichen Buntfarbe durch den Darstellungswert unbunter Farbtöne ersetzt. Malerei und Graphik tendierten im nordalpinen Raum hingegen dazu, mittels des Helldunkel die Oberflächenbeschaffenheit von Materialien zu evozieren. Aus dieser komparativen Perspektive erfasst der Band das Helldunkel als ästhetisches Prinzip, das als zentrale Signatur der gesamteuropäischen Kunstgeschichte zwischen 1300 und 1600 zu verstehen ist.
Within the framework of this article the results of two experiments are compared, on the preference and harmony content of neutral colours, carried out 50‐year apart, in 1967 and 2017. The ...experimental conditions and sample boards, shown to the experimental subjects were identical in both occasions. Result shows that in 2017 the very light and very dark colours have been preferred over other colours, against the findings in1967. At the same time, the experimental subjects found the colour pairs, formed of colours with higher contrast, more harmonic in 2017 than 50‐year earlier in 1967.
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