Colour Theory

The dichotomy paradox challenges our understanding of infinity and motion. The paradox involves the idea that to reach a destination, one must first cover half the distance to it, then half of the remaining distance, and so on ad infinitum. This, ultimately, leads to the conclusion that motion is impossible because it involves completing an infinite number of tasks.

Whether designing an interior, product, or brand identity, architecture and design professionals consistently rely on colour to establish connections with users and convey specific messages. However, translating abstract ideas into colour selection can be challenging, particularly when working with complex or sophisticated meanings that lack physical or concrete visual references. So, how can we make informed colour choices beyond subjective intuition or traditional associations? To address this, the Colour Meaning Matrix (CMM) was developed. This tool assists creatives in selecting colours with precision and purpose, offering guidelines and suggestions to align ideas with all three colour attributes - hue, lightness, and saturation - and enabling designers to choose colours that effectively communicate the desired emotional and contextual meanings.

There are a large number of studies on colour and its influence on human feelings, but there are only a few studies on the association between feelings and colour combinations. This studie investigates the association between colour combinations consisting of three equally sized colours and the feelings they convey. The methodology used in this studie follows the instructions from the Nippon Colour & Design Research Institute (NCD) in Japan, NCD have studied consumer psychology towards colour and colour combinations for several decades. This study used semantically differential scales to evaluate existing colour combinations from NCD to descriptive adjectives and creation of new colour combinations to explore the relationship between colour combinations and conveyed feelings. A total of 69 people participated in the tests. The main conclusions formed by this study are: (1) the feelings connected with the colour combinations differ partly between the Swedish population and the NCD an...

Indian art has combined local tradition with outside influences, and has evolved along with a civilization, which has been remarkably innovative in all areas. The art has developed in the courts by the professional artists but folk art has developed in houses, worship places, courtyards, villages, among illiterate race. It is in fact an essential aspect of the celebrations in the family. India is a sub-continent and is composed of people with different cultures, different social customs and traditions and speaking different languages. Yet a stream of unity seems to run through the length and breadth of the country. It is this stream which in spite of all diversity keeps the country united. In Rangoli one can see the aesthetic expression of this unifying stream, with variation in styles and forms in different parts of the country. Rangoli is an Indian traditional -folk art, generally created on a floor on special festive occasions. The origin of this art can be traced to the "PURANAS". The tradition of Rangoli originated in Maharashtra state and slowly disseminated to other parts of India. Almost invariably these are practiced only by women and take the form of drawings on the floor or on the walls of the house reflecting their creative artistic expressions. Their style and quality depended on the materials available in the place in which they were executed, these very factors that helps to identify the region. In Maharashtra it is called Rangoli,

Aristotle is often regarded as providing a potentially appropriate model for a naturalistic human psychology that is able to reconcile the commonly opposed normative or "manifest" and factual or "scientific" images of the world and restore to the world the qualities that constitute its value. Such Aristotelian features were taken up after Newton by Goethe in his Theory of Color in his attempt to restore the actual color to the world that had seemingly been drained of it by Newtonian science. Here, I argue that beneath the "modificationalist" elements that Goethe took from Aristotle lies a mathematical approach to color originating in Plato that exploits similarities between color and tonal consonances and dissonances. The logical structure of Goethe's color theory has recently been investigated by proponents of "universal logic", but only when this theory is viewed against the background of Plato's appropriation of Pythagorean harmonic theory does its full explanatory potential become apparent.

Optik ilmine dair öncü araştırmaların işaret ettiği iki isim olan İbn Sînâ (ö. 428/1037) ve İbnü'l-Heysem (ö. 432/1040 [?]), Osmanlı klasik döneminde Meşşâî, Kelâmî, İşrâkî, Menâzırî türlerde yazılan optik metinlerinin en temel kaynakları olarak gözükmektedir. Bu iki zirve ismin ilgilenmiş oldukları optik problemlerinin tam bir listesi henüz mevcut olmamakla birlikte yapılan araştırmalar, İbn Sînâ ve İbnü'l-Heysem optiğinin teorik ve deneysel konularda farklı şekilde terkip edildiğini göstermektedir. İbn Sînâ ve İbnü'l-Heysem optiğine uygulanan sentezde teorik optikte Fahreddin Râzî (ö. 606/1210), deneysel optikte ise Kemâleddin Fârisî (ö. 718/1319) ön plana çıkmaktadır. Bu çalışma, İbn Sînâ ve İbnü'l-Heysem optiğinin, Râzî ve Fârisî eliyle terkip edilen ve Osmanlı bilginleri sayesinde dolaşımda olan optik problemlerinden ışığın çeşitleri, ışık-renk ilişkisi, gökkuşağı ve hâle olmak üzere dört problemin farklı dolaşım rotalarına işaret etmeyi hedeflemektedir.

Gangguan khusyuk dalam menjalankan ibadah merupakan suatu kejadian psikologis dan spritual yang menarik untuk di kaji, terutama ketika kejadian ini diangkat menjadi sebuah film yang berjudul Khanzab. Penelitian pada Film ini menganalisis tentang perspektif Lompatan Iman Soren Kierkegaard. Tujuan penelitian ini digunakan untuk memahami pengalaman seseorang mendapatkan gangguan khusyuk dan tantangan iman dalam menjalankan ibadah. Penelitian ini menggunakan metode kualitatif, dengan teknik pengumpulan data menggunakan tinjauan Pustaka dan film 'khanzab' yang kemudian dianalisis secara deskriptif. Penelitian ini juga menggunakan teori lompatan Iman Soren Kierkegaard bahwa gangguan khusyuk yang di alami tokoh dalam film tersebut merefleksikan perjalanan hidup yang membutuhkan lompatan iman sebagai solusi untuk mencapai tingkatan spritualitas yng tinggi. Hasil penelitian ini menunjukan bahwa film khanzab bukan hanya menggambarkan gangguan spiritual saja tetapi, mengisyaratkan pentingnya eksistensial untuk mencapai kekhusyukan dalam beribadah. Kesimpulannya ialah konsep lompatan Iman dapat menjadi pendekatan alternatif untuk memahami dan mengatasi gangguan kekhusyukan beribadah dalam konteks modern.

This paper explores the phenomenon of colourism in India, focusing on how it disproportionately affects women across different regions. Drawing from historical, social, and psychological dimensions, this analysis highlights the cultural roots of skin tone bias and its gendered implications. It also investigates regional disparities and similarities, offering insights into the ways internalised colourist attitudes impact women's lives. The paper concludes with a call for systemic change through education, media reform, and inclusive representation.

The vertical color gradient of the twilit sky surface has been analyzed in this article. Through the red-to-blue alteration of the hue as moved up the horizon towards zenith, there happens an "achromatic" point, of which the elevation angle depends on the sight altitude besides the atmospheric turbidity. Graphical representation of this dependence enables to make a rough estimate about the altitude of the location of observation above the sea level, by fixing the vertical position of the achromatic band on the sky, either via photographic snapshot or just with the naked eye.

In recent years, studies have focused on exploring the use of colour in audio-visual language, which has mainly been approached from the context of cinematography. However, research related to colour as a communicative element in the visual narrative of video games is not yet consolidated, and there is a shortage of bibliographies related to this subject. This research investigated the identification of strategies for applying colour as a communicative and interactive element in the visual narrative of video games. The starting point was recognizing the role of colour in audio-visual language from various authors related to film studies, and the identification of main visual narrative strategies related to colour in cinematography. Then, using these strategies, an analysis was carried out on ten case studies of selected video games, in which colour is a fundamental element in the art direction. In each video game, the scenario, characters, and mechanics were analysed. The main results of the research indicated a general coherence between the ways of using colour as a communicative element in both media, cinema, and video games, through the identification of different applied techniques. However, the interactive nature of the video game differentiates it from cinema and implies additional complexities and possibilities for colour as a communicative resource, which can play a relevant role in the interaction with the player and the development of the narrative and plot.

In vision science, colours such as red, yellow, blue, and white are regarded, not as physical properties as such, but as perceptions of physical properties created by our visual system. Yet colours certainly seem to us to be physically located outside ourselves in objects and in light. In this presentation I’ll examine how this perceived physicality of colour arises and how it misleads us into thinking that when we mix coloured paints and lights we are mixing their colours.

Being specific about colour is notoriously challenging, mainly because it is the product of different processes: electromagnetic radiation; reflection off material objects; ocular perception; cognitive interpretation; and linguistic expression. Different primary colour sets are used by physicists, artists, and printers. This paper explores how mapping nanometres to radians reveals interrelationships between individual colours, and identifies primary groupings, in terms of Pi and the Golden Ratio. By adding or subtracting the Golden Angle, and multiplying or dividing by the Golden Ratio, the main named colours can be located. Colours take exact values, each containing two irrational terms with natural number coefficients, which can be plotted as vectors in a phase space. This reveals meaningful colour alignments and appears to vindicate Newton's seven-colour rainbow.

An evaluation method is proposed to qualitatively and quantitatively evaluate the clinical outcome of the enamel hypomineralization treatment with infiltrative resin in young adolescents. The aesthetic outcome is assessed before and after treatment by visual evaluation using FDI-colour match criteria and by spectrophotometric analysis using the CIEDE2000 colour difference formula. The visual (subjective) results are compared with the spectrophotometric (objective) approach. 76 teeth of patients of Sapienza University (Rome, Italy) presenting early caries lesions and/or developmental defect of enamel on the labial surface of clinical crown were subjected to resin infiltration. Three observers evaluated the aesthetic appearance of the teeth before and after treatment using FDI-colour match criteria. The spectrophotometric colour difference between the affected and sound enamel in each tooth was calculated before and after resin infiltration. A correlation between FDI criteria and the ...

The development of any interior environment requires at some stage a decision regarding the colour design of that interior. In many cases, especially interiors in public spaces, choices regarding the colour scheme are not considered important or afforded a high priority. Developers of non-domestic interiors designed to acommodate the more vulnerable, fragile, unwell or disabled, are aware of the complexity of choosing colours to create the right effect, and may seek information to aid successful application. Healthcare personnel with experience in these environments often observe the impact that colour may have on the people in their care. Colour has the potential to change spaces into interesting environments, to add stimulation in an otherwise monotonous space, and can even manage navigation or orientation for people with dementia. Every object, material and surface in an environment can contribute to the overal success of that space for users. Certainly it is known that under-stimulation is detrimental for the immobile or for those in long term healthcare environments McConville 2000, Dalke 2007). Little work has been done on what defines an environment as having visual comfort, incorporating accessibility and contrast. Yet contiguous spaces -a bedroom, corridor and dayroom -may be all that patients, service users, clients and residents experience; a sequence of these spaces maybe the only 'journey' they make. Colour preferences have been established that do identify key issues for advice and generic colour application in long term healthcare environments for a wide range of users of these findings. This Arts and Humanities Research Council funded research programme focused on examining current design practice in a group of representative long-term healthcare environments. The work also included establishing some results on generic colour preferences and experimental testing in real world refurbishments; all these methods provided some recommendations useful for those requiring more definitive guidance on the subject of colour application in environments.. 1 Determine, experimentally, how colour design could assist the achievement of pleasurable, high quality environments. 2 Determine generic design issues experienced by patients through interviews and extensive tests with a range of representative groups of staff, users and visitors on existing and refurbished long-term healthcare environments. 3 Use computer aided tools and software to identify successful strategies and key points of failure in colour design schemes within long-term care enviroments. 4 Audit the effects that colour design has on ambience, visual comfort, accessibility, efficiency and safety for the target groups in a range of environments. 5 Establish key functions in environments where improved ambience and visual comfort are attributable to colour design. 6 Conduct post-occupacy evaluation of long-term patients in the 'real world' environments 7 Initiate economical, creative and innovative solutions for colour design 8 Record for dissemination the research phases for the guidance document 1 Can generic issues on schemes for colour design be catalogued and demonstrated for use by professionals in a Design Guide? 2 Would improved ambience and comfort contribute to a sense of well being in longterm care environments? What would these interventions be? 3 Do performance perceptions affect the sense of well-being of people, e.g. visual adaptation when people move between interconnected confined spaces with different colour design schemes? 4 Can results on colour preferences be assessed in experimental studies ? 5 What are the preferences and effects of certain colour design combinations used in contiguous spaces? Previous research has shown that office workers were affected in their concentrations and accuracy by the colour of interiors (Kwallak). Prisoners were affected by being contained in all-white environments (Fairweather and McConville) and Mahnke suggests that monotonous environments may result in under-stimulation that may cause aggressive behaviour seen in prisons. Buildings require an assiduous application of colour design for confined interiors, essential for a sense of well-being or stress relief. Previous research using colour measurement methodology and environmental psychology have not been co-ordinated. Earlier qualitative research on the design of environments with occupants who are restricted in some way, traversing from one area to another, has revealed a complex set of variables which have been identified for further research (Dalke 2000). Until recently it was widely believed that the healthcare environment had no bearing on the recovery or sense of well-being of patients and that the only factor which mattered was the quality of the healthcare alone . Evidence is now accruing to demonstrate that healthcare environments can have a major influence on the speed of recovery of patients as well as their mental state; even more important perhaps is the fact that poor environments can hinder a sense of well-being which in turn impacts on recovery rates (

I have witnessed Indigenous students experience marginalization, being ignored, being labelled, and earning developmental designations, all as a way to continue systemically oppressing them. Indigenous students traditionally did not sit in rows, they did not compete for the highest mark, an A+ or a B. Indigenous education and learning is a process, and no one fails. Systemic oppression continues in public education where Indigenous students are alienated, being pushed out, kicked out, or continuously transferred from school to school. After fasting for 1,000 days, I received a vision of how to move Indigenous education forward: I began making Indigenous drums; I taught singing to students, staff, and admin. Reinstatement of Indigenous culture such as drumming and singing increases self-esteem, self identity, confidence, and self-determination for the learner and is a tool for healing intergenerational trauma. These cultural supports, therefore, become critical for the success of Indigenous students and they are helping Indigenous education and people move forward without fear. There is a hegemonic imbalance of power and we need a reallocation of government funds in public education. Indigenous students have the right to attend school and participate without penalty, punishment, or humiliation. Swept under the school "welcome mat" are all forms of racism in public education. Critical Indigenous theory considers unequal power relations as they affect urban Indigenous students. The imbalance creates marginalization and prejudices towards Indigenous students. This dissertation uses retrospective study on the students' Artwork Stories, a free expression that allows specific elements and past patterns to emerge and reveal that Indigenous drumming and singing correlates to specific values and emotions. The spirit of Indigenous iii

Ovaj esej istražuje kako su različite narodne zajednice u Banatu kroz istoriju proslavljale dolazak proleća – od Austrougarske, preko Kraljevine Jugoslavije, do komunističkog perioda. Opisani su običaji Srba, Rumuna, Mađara i Nemaca, njihova transformacija kroz društvene promene i način na koji su opstali do danas.
This essay explores how different ethnic communities in Banat have celebrated the arrival of spring throughout history – from Austro-Hungarian rule, through the Kingdom of Yugoslavia, to the communist era. It describes the traditions of Serbs, Romanians, Hungarians, and Germans, their transformation through social changes, and how they have persisted to this day.

Many painters wrote treatises on colour, but these did not always determine or reflect how they used colour in their work. This is because they often misunderstood even the most basic principles of colour science. Moreover, artists were sometimes more closely wedded to the practical knowledge they had acquired through making paintings than they were to their own theories.
This paper also discusses John Hayter's painting, Portraits of – Hayter, senior, and three young artists – of 1823, one of the few paintings to show artists discussing colour theory.

Resumo. Este artigo objetiva investigar as estéticas do artifício do cinema queer brasileiro contemporâneo por meio de alguns conceitos-chave como o «camp», o «lindo» e a noção de superfície, a fim de compreender como estes se articulam entre si e como estabelecem relações com a luz e a cor enquanto elementos importantes que indicam uma distinção imagética queer. Ao estabelecer uma plataforma crítica contrária à hegemonia cis-heterossexual, o artigo não apenas convida à reavaliação dessas expressões, mas também busca enriquecer o domínio dos estudos queer e da estética dentro do âmbito cinematográfico. A discussão busca aprofundar temáticas relativas à iluminação, elemento intrínseco para a existência do cinema. No entanto, essa exploração transcende o domínio técnico, examinando como a iluminação tem a capacidade de perdurar e criar percepções realistas ligadas à tradição cristã. Assim, o papel da luz no estudo também é investigado sob uma perspectiva moral, destacando sua habilidade de articular valores visuais na narrativa. Ao mesclar as complexidades das estéticas do artifício com uma análise aprofundada da iluminação cinematográfica, este estudo procura aprimorar a compreensão das várias camadas que permeiam o cinema queer brasileiro. Nesse processo, explora-se como este cinema vai além de lugares da representatividade e trabalha em distinções da imagem ao desafiar e modificar noções convencionais da linguagem cinematográfica. Palavras-chave: cinema queer brasileiro; estética queer; estética do artifício; cor no cinema; luz no cinema [en] Light and Color: the Artificial Aesthetics of Contemporary Brazilian Queer Cinema

The journey of the royal possessions during the Commonwealth period is a fascinating chapter in English history. The dispersion of these treasures and their subsequent reclamation under Charles II reflect the tumultuous nature of the era. The rediscovery of the lost painting at the Museum of Fine Arts, Houston, serves as a reminder of the enduring legacy of the royal collections and the ongoing efforts to preserve and understand our cultural heritage.
The story of this painting is not just about the recovery of a lost treasure; it is also about the resilience and continuity of history. Through the dedicated work of scholars and institutions, pieces of our past can be rediscovered, offering new insights and enriching our understanding of history. The painting now stands as a symbol of the enduring legacy of the English monarchy and the importance of preserving our shared cultural heritage.

When complete, Albertus Seba’s monumental Locupletissimi rerum naturalium thesauri accurata descriptio... (1734-1765) contained 446 copperplate illustrations of thousands of natural history specimens from Seba’s famous ‘cabinet of curiosities’. Commonly known as the Thesaurus, the plates were issued uncoloured although a number of copies survive in a hand-coloured form. This is the case for one of two copies of the Thesaurus held in the British Library collections. This copy, originally sent by Seba to Sir Hans Sloane, is elaborately coloured and highlighted with gold. 

The colouring of this work raises questions of the role and importance of colouring in natural history publications, especially considering the work was originally issued monochrome. These questions are further complicated by two volumes of watercolour paintings of insects, also sent to Sloane by Seba. These paintings predate the publication of the Thesaurus and yet, for certain images, show marked similarities in the replication of colouring when compared to the printed work.

This paper will explore the historical context of this coloured edition of the Thesaurus, its colourists and its connection to the earlier watercolour paintings. It will also assess the significance of hand colouring to contemporaneous natural history publications, as well as the continued impact of colour to Seba’s iconic work.

This paper was presented at 'The Hand Colouring of Natural History Illustrations in Europe, 1600-1850' held at the University of Konstanz, 26-27 Feb 2025.

When painting you are often faced with the question: which color palette should I choose for my picture? Should it be monochrome – i.e. domi¬nated by one color (gamut)? Should it be “subtly colorful” – i.e. contain different but matching colors? Or should the image have much contrast in terms of hue - perhaps even seem a bit shrill and dissonant? A color system is described below (I call it the “Big Color Triangle”) which sup¬ports the compilation of harmonious color palettes with the associated complementary/dissonant colors. It is intended to serve as a tool for coloring and color analysis of pictures. The description is embedded on the one hand in a short excursus on color theories with references to the color wheel and color triangle, and on the other hand in exemplary color analyzes of expressive paintings with the help of the heuristic tool described here. An appendix with definitions of the color terms used rounds off the brochure.

Many painters wrote treatises on colour, but these did not always determine or reflect how they used colour in their work. This is because they often misunderstood even the most basic principles of colour science. Moreover, artists were sometimes more closely wedded to the practical knowledge they had acquired through making paintings than they were to their own theories.
This paper also discusses John Hayter's painting, Portraits of – Hayter, senior, and three young artists – of 1823, one of the few paintings to show artists discussing colour theory.

This book examines the phenomenon of color charts that were created, developed, and sometimes published in 18th-century Europe. In this work, for the first time, color order systems, painters’ and dyers’ sample books and the tables of natural historians are all considered as color charts. The book offers a historiographical categorization of the charts into natural, pigmentary, and trichromatic color charts and then scrutinizes and explains what their differences are based on and what factors are responsible for their similarities. For this purpose, this work brings to light, compares, and analyzes numerous primary sources and colorful illustrations.

The article analyses the phenomenon created by colouring black and white archival footage in Revolution in Colour (Martin Dwan, 2016) and Warsaw Uprising (Powstanie Warszawskie, Jan Komasa, 2014) and focuses on how the contemporary cultural and media environment affects our perceptual mechanisms and makes the colourisation of archival black and white footage attractive. At the beginning of the paper, I briefly review the ontology of the digital image and concentrate on the way in which the archival footage is changed by being converted from analogue to digital. In addition, I focus on the possible social causes of digital colourisation and the visual consequences of adding colour to archival footage, emphasising the problem of spatiality, floating layers and reduction of temporal distance. Subsequently, I analyse different visual effects generated by the added colours in more detail in the case of the Irish film, along with a typology specifically constructed for this purpose, and with the description of the operations of immediacy and hypermediacy for coloured material. In the final subsection, I examine the phenomenological consequences of ‘over-restoration’ in the case of the Polish film and how the creators erased the traces of time. In this comparative analysis of the two films, my aim is to explore the differences between the two processes of digitisation and colourisation of archival footage.

Colourisation describes the retrospective digitisation and addition of colour to analogue photographs and films that were initially recorded for use in a black and white format. Digitised versions of photochemical materials are increasingly the first point of public access to museum collections and film archives, colourisation can emphasise or diminish details that were considered salient to the photographer. In the case of Holocaust photography – particularly that produced by its perpetrators – colourisation can perform other functions, involving complex negotiations between past and present. Colourisation manipulates images so that they are not reproduced in the form that perpetrator-photographers created, kept or studied. In doing this, the digital editing technique of colourisation is pre-figured by other methods used by museums and film-makers to interrogate perpetrator-produced images and disrupt their ideological function. In this article, we explore the ethical implications of colourisation as it has been used in the Faces of Auschwitz project, Marina Amaral’s collaboration with the Auschwitz Museum. Amaral has colourised 21 registration photographs taken by the camp Political Department's Identification Service (Erkennungsdienst). We place this project in a lineage of films which also show and alter the registration photographs – Ordinary Fascism (dir. Mikhail Romm, USSR, 1965) and The Portraitist (dir. Ireneusz Dobrowolski, 2006) – as well as a film that uses colour slides taken by a German perpetrator Photographer (dir. Dariusz Jabłoński, 1998). We suggest that Amaral’s colourisations take the form of an artistic intervention and re-mediation in a similar way to these films, rather than as the historical research which she claims it to be.

Regardless of the question of whether colour perception is universal or not -whether it transcends culture or whether perception itself is influenced by naming as advocated by linguistic relativity hypotheses-colour and culture cannot be disentangled from one another. The internal representation of a ray of light entering the eye is not only categorized linguistically but culturally as well. Typological evidence seems to suggest that not all categories have universally determined foci, and that the shape of categories, and hence exactly where their boundaries are, certainly varies between languages (Dowman 2001 : 3). Therefore, the lexicographic treatment of word meaning is to account for both prototypical and peripheral facets of the inherently fuzzy semantics of a category, cultural insights included. Colour is emotionally loaded, emotion is a cultural construction and the emotional intensions of colour terms differ from culture to culture just as the understanding and interpretation of colour does. This is why sorrow is black in Spanish and why, although the English language does have speakers in a black mood, no speaker of Spanish will ever feel blue : in Spanish, azul and its many shades (añil, celeste, marino, turquesa, ultramar, zafirino…) are lexicographically linked to the sea, cloudless skies or gemstones, but never to melancholic scenarios. As a matter of fact, the OED (1994) reveals that speakers of English did not experience blueness as in feeling blue until as late as the sixteenth century. Not surprisingly, the experience is non-translatable, neither across languages nor over time : blueness, the colour of a bright sky in the daytime, has little to do with sadness, just as envy is not necessarily a green eyed monster, nor are lies white (at least, not necessarily in other cultures nor in earlier stages of the language). A diachronic insight into the English expression feeling blue seems to reveal a maritime lineage which dates back to a time when flying blue flags and a blue band painted along the hull of a deepwater sailing ship returning home used to be a witness to the death of the captain during the voyage (US Navy). The fact that this custom did not trespass the boundaries of the British navy accounts for the non-translatability of the expression, while at the same time, the mournful origin of the expression explains why 1 Sincere thanks are due to professor Hüllen for his careful reading of and insightful comments on the paper.

Colour and colour perception are of great relevance for many scientific fields and constitute important aspects of the aesthetic appearance of most artwork. In art history, visual arts, media sciences and photography, colour is an important attribute for assessing and reviewing most objects. Virtual Research Environments, for example, allow scholars to access, compare, and discuss digital renderings of paintings, photographs, video and motion pictures. The quality of colour rendering of these digital objects is crucial for most analytical work because colour is one of the most important features that is communicated. We propose to revolutionize the current colour rendering methodologies on state-of-the art displays and printers, for better “true” colour management of digital still images, video, or motion pictures. Since the early years of colour science, the 1931 CIE Standard Observer has been a major reference for colour reproduction (Guild, 1925, 1932; Wright, 1929). The CIE Stan...

Tapa dura (en pasta) y acabados especiales como hot stamping color cobre y laminado mate en la cubierta. 160 páginas. Cubierta: creator matt 80 g/m papel blanco Tripa: ikonorex 135 g/m Guardas: zella plus 120 g/m papel blanco Grosor del cartón de la cubierta: 3mm Características materiales de los soportes

УДК 745.522 ХУДОЖЕСТВЕННЫЙ И ТЕХНИЧЕСКИЙ АНАЛИЗ НЕКОТОРЫХ ВИДОВ ГАЗАХСКОГО КОВРА «БОРЧАЛЫ» С.Ш. Рзаева, Я.Р. Салимов Азербайджанский национальный музей ковра (Азербайджан) Аннотация. Статья посвящена исследованию четырех ковров «Борчалы», хранящихся в коллекции Азербайджанского национального музея ковра. Цель исследования-выявить с помощью художественного и технического анализа основные типологические черты некоторых видов ковра «Борчалы», относящегося к Гянджа-Газахскому типу азербайджанского ковра. Основное внимание художественного анализа было уделено форме, структуре медальона и его элементарной единице как наиболее информативной и значимой части для атрибуции данных ковров. В результате исследования выявлено использование родственных медальонов вертикальной и крестообразной форм. Обнаружено, что основные орнаментальные формы, образующие медальон, как и второстепенные мотивы, заполняющие поле ковра, являются общими для исследуемых нами вариантов ковра «Борчалы». Также в образовании обрамляющих медальонов констатировано применение принципа «бесфоновой организации изобразительных форм» (БОИФ). В исследовании получена информация о ряде характерных черт, составляющих типологическую особенность медальонов. Выдвинута гипотеза о том, что вертикальная составляющая медальона является важным устойчивым признаком исследуемых медальонов, указывающим на их архаичность по сравнению с крестообразными медальонами данного ковра. Установлено, что колорит данных ковров составлен из ограниченного числа цветов, где красный, белый и синий (и его оттенки) являются доминирующими. Технический анализ структуры ковров показал, что в целом они соответствуют характеристикам типичных газахских ковров. Материалы и методы исследования. Исследование было проведено на четырех вариантах ворсового ковра «Борчалы» хранящихся в Азербайджанском национальном музее ковра (инв. № 6446, 6565, 5334, 1138). В качестве метода для исследования художественного оформления ковров использовался сравнительный анализ. Ключевые слова: ковер, Азербайджан, Газах, Борчалы, Лембели, медальон, трехчастный мотив, крючкообразный элемент. Для цитирования: Рзаева С.Ш., Салимов Я.Р. Художественный и технический анализ некоторых видов газахского ковра «Борчалы» // MUSEUM.KZ. 2024. №3 (7), с. 25-40.

Although rug culture has been present in many geographies of the world for centuries, it has a special place and value in Turkish culture with its diversified meanings. This study presents a panoramic perspective of the rug in Turkish culture. Starting from the meaning of the rug and its expansions in Turkish culture, the study discusses the meanings of the rug in different fields and disciplines, and what the rugs represent with their colors, textures and especially symbols. This article, which discusses the meaning of weaving training of rugs in handicrafts courses, the meanings of symbols, motifs and colors, also focuses on the meanings of colors, love, folk songs and symbols. The interaction of rugs and culture, in other words, the levels at which rugs, as an important part of culture, exist in Turkish culture have been revealed. Again, how the rug is used and emerged in the art branches of the culture has also been expressed. The relationship between women and rugs in the East and Turkish culture in particular has also been revealed. In addition, the history of rugs in
Turkish history is also emphasized. In addition to the relationship between geography and rugs, religion and rugs, the meanings of rugs in cultural heritage have been revealed. In the same time, the message values carried
by the rugs are also discussed. As a notion, the expansions of love, longing and other emotions expressed in rugs have been analyzed. In this article, where the meanings of animal and plant symbols in rug motifs are explained, a holistic view has been tried to be put forward. Thus, starting from the concept of kilim, the place and meaning of kilim in Turkish culture has been revealed from a holistic perspective with the inductive method.

Technical examination of paintings in the Courtauld Gallery by Camille Pissarro and his son Lucian, provide evidence for a discussion of the relationship between father and son with regard to stylistic influence, materials and artistic practice. Correspondence between them illuminates the nature of Camille’s instruction of his son in painting, and provides the context for the comparison of the paintings in this study and of their wider oeuvre. Primary source material in the Pissarro Family Archive at the Ashmolean Museum, Oxford, including Camille’s drawings, Lucien’s sketchbooks and family photographs, further supplement the technical evidence from the paintings. Technical analysis of the Pissarros’ works has highlighted the use of similar materials by father and son, attained from reliable dealers. While Camille’s painting is direct and innovative, Lucien’s was influenced substantially by Neo-Impressionism. Their painting methods and attitudes to varnishing are discussed in relati...

Première édition critique du traité des couleurs en vernaculaire, formant le début du livre XIX du _Livre des Propriétés des choses_, rédigé initialement en latin au XIIIe siècle par Barthélémy l’Anglais et traduit en français en 1372 par Jean Corbechon.

Muchos estudios se han ocupado de desvelar mediante el método icono­gráfico el significado de la producción pictórica de Antonio Palomino (1655-1726), pero falta aún un análisis integral de la forma en que el pintor del rey construía sus imágenes y de cómo éstas actuaban en el observador. El presente artículo pretende abordar esta tarea desvelando el significado del concepto de idea, que es como Palomino se refería al proceso de invención y construcción de un programa iconográfico. Remitiéndonos al Museo pictórico y escala óptica y a la obra de ese artista, evidenciaremos, en primer lugar, su carácter a la vez especulativo y práctico. Esta doble naturaleza del concepto de idea nos llevará a profundizar en su origen y procedencia y, finalmente, en el modo en que Palomino lo absorbió.

People want, when they're in the next room, then they hear that song, they know the show is on. HBO's advice to David Chase, creator of The Sopranos 2 All you need is the opening chords, or the image of the tree and it's so evocative, people immediately know where you are or what you're talking about. Alan Poul, executive producer, Six Feet Under 3 In May 2010, a lead story in New York magazine focused on television: "Televisionaries: An Extraordinary TV Season, and the Rules that Shaped It." 4 Title sequences ranked among the topics it covered, and the sequence for Showtime's Dexter was presented as the exemplar. A brief commentary summarized how the sequence was produced, and the article presented a series of frame stills from the sequence alongside extracts of Rolfe Kent's music score in reduction (somewhat unusually for mainstream print media). The Blogosphere too has been in a state of excitement over television title sequences in recent years. Many sites list favorite examples of the genre and engage in detailed discussions of the music, the visuals, and their audiovisual interactions. Let me lay my cards on the table now: I agree with these critics. In recent years the main title sequences for high-production-value television serials, particularly those developed for broadcast on premium cable channels, have become fascinating

Markis de Sade har igennem århundreders forbud givet folk en kildrende fornemmelse af at disse erotiske skildringer aldrig er blevet overgået. Selv om Sade´s bøger først i midten af 60érne var til at få fingre i, så har hans seksuelle forfatterskab befrugtet Blixen.