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Essay on the meaning of colors
Essay on the meaning of colors
Essay on the meaning of colors
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In the world of design there are a few key words and terms that help define how we see colors, think of colors, and use colors. Not every color has a name and if we created a name for every single different shade, tone, tint, or saturation of a color, we would run out of names. The closest we have to a name for these colors is the most basic of terms called the Hue. The Hue is in all generality, the name of a color. It serves no purpose but to give a name to a color to give someone an idea of what it may look like. I could say that my walls are painted gray but, are they bright? Are they possibly darker than a normal gray? It doesn’t quite matter because the walls are gray in general. Using Hue can be an easy way of giving the most basic definition of a color. If we want to get a tiny bit more complicated we add adjectives such as light, dark, puke, bright, etc. Even though we use these simple adjectives we could always just call it as it is. A few terms are defined to help us understand what a color really is and how to create colors based on a few key aspects. An important aspect is the saturation of a color. This is basically what dictates how intense the color is. The most intense red in the world could be blinding. Its almost as if we were to put the sun on a website or painting and show it to you. Its very bright and “loud” that could most certainly cause blindness or a few foul remarks. Another way of giving color its special definition is the Value of a color. Adding value to a color is the same as adding the color black. Value makes the color darker and deeper. Similar to a brick red color it could also be considered a simple red with some value added to it. Value is a very important detail because it creates the ... ... middle of paper ... ...how to see color for what it really is and the truth behind chroma. Works Cited Chapman, C. (2010, January 28). Smashing Magazine. Color Theory for Designers, Part 1: The Meaning of Color. Retrieved February 20, 2014, from http://www.smashingmagazine.com/2010/01/28/color-theory-for-designers-part-1-the-meaning-of-color/ Chapman, C. (2010, February 2). Smashing Magazine. Color Theory For Designers, Part 2: Understanding Concepts And Terminology. Retrieved February 20, 2014, from http://www.smashingmagazine.com/2010/02/02/color-theory-for-designers-part-2-understanding-concepts-and-terminology/ Chapman, C. (2010, February 8). Smashing Magazine. Color Theory for Designer, Part 3: Creating Your Own Color Palettes. Retrieved February 20, 2014, from http://www.smashingmagazine.com/2010/02/08/color-theory-for-designer-part-3-creating-your-own-color-
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Landesman defends a view called color skepticism, that nothing has any color, neither bodies nor appearances. He came to the conclusion that colors do not exist. In making the case for his "color skepticism," Landesman discusses and rejects historically influential
Chance, Shannon. "Hampton University Brings Color to Architecture." 20 on 20/20 Vision: Perspectives on Diversity and Design (2003): 98-101. Web. 4 Jun 2011. .
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...ace Theory, Forster's Counter, and the Metaphysics of Color." The Eighteenth Century 53.4 (2012): 393-412. Project MUSE. Web. 15 Dec. 2013. .
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Light is what lets you experience colour. The pigment of the retina in your eyes is sensitive to different lengths of light waves which allows you to see different colours. The wavelengths of light that humans can see are called the visible colour spectrum.
In this interesting topic of the psychology of colors, the most crucial pattern is the meaning of each color and his impact on the individual as it is represented as the following:
Goldblatt, and Brown. Aesthetics: A Reader in Philosophy of the Arts, Upper Saddle Ridge, NJ: Prentice Hall, 1997.
The challenge of cleaning out my desk drawers in preparation for the move to New York results in my stumbling across an old coloring book. I leaf through the pages, startled by the number of pictures I’d left only partially colored. With quick, shaky movements, it seems as if I had simply jumped from shading one image to the next, as if there were something complete about leaving the figures incomplete. Sitting at my desk, fourteen years older, I laugh at my rendition of Big Bird, whose characteristically yellow feathers I had made blue and whose feet (I suppose I had decided) were altogether undeserving of color. And yet I get a sense that thi...