Relevant bibliographies by topics / History of colours

Academic literature on the topic 'History of colours'

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Published: 13 April 2024

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Journal articles on the topic "History of colours"

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Gostkowska, Kaja. "Apprivoiser la richesse des couleurs sur la palette du peintre, ou vers une liste terminologique des noms de couleurs." Romanica Wratislaviensia 63 (October 11, 2016): 41–52. http://dx.doi.org/10.19195/0557-2665/63.4.

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HOW TO MASTER THE ABUNDANCE OF COLOURS ON THE PAINTER’S PALETTE, OR A STEP TOWARDS THE TERMINOLOGICAL LIST OFTERMS RELATED TO COLOURS Colour as a subject has led to numerous studies in various disciplines such as physics, psychology, chemistry or history of art, to name a few. In the field of linguistics, the names of colours have been analysed from different points of view but all those works concerned mostly the words related to colours used in the general language. The aim of the present paper is to focus on the terms related to colours used in history of art texts, and to show the unexpected complexity of such terminology. After presenting the definitions of colour we will describe two different aspects of French terminology related to colour: firstly, the forms of terms from the point of view of their morphological and semantic motivation, and secondly, the cultural and historical reasons of such linguistic abundance and complexity of the colours’ terminology.
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Davies, Will. "Colour Vision and Seeing Colours." British Journal for the Philosophy of Science 69, no. 3 (September 1, 2018): 657–90. http://dx.doi.org/10.1093/bjps/axw026.

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Bieszk, Marta. "Coding colours: Differences across languages and their consequences for translation and language teaching." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching 18, no. 2 (May 16, 2021): 9–25. http://dx.doi.org/10.26881/bp.2021.2.01.

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The concept of colour occurs in every language of the world, but contrastive research shows that the names of individual colours, functioning in one of the compared languages, do not have unambiguous equivalents in the other. The problems of the linguistic expression of colours in different languages, the history of colour terms, the formation of the semantic field of colour names and the semantics of individual words referring to colours have been investigated by numerous scholars. This paper focuses on analysing the consequences of the different organisation of the semantic field of colour for the translation from one language into another, as well as for foreign language teaching. The consequences presented here concern Polish and German mainly, but other Indo-European languages are also taken into consideration.
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Vyas, Bhawna. "THE EVER-CONTEMPORARY CHARACTER OF COLOURS AND INTERIOR DECORATION." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (February 25, 2021): 1–10. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3557.

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Colours are, perhaps, as old as the universe is; might be older than that. But, for sure, colours are older than arts and are related to every aspect of human life. A colour gets its identity from the rays it generates. In other words, colours are composed of radiations. Thus, when it is about colours, it is more about science than it is about arts. And science cannot be regional or time-bound; it is always universally and timelessly applicable. This character of colours inspired me to write ‘The Ever-Contemporary Character of Colours and Interior Decoration’ and helped me in taking examples from different periods of history, thus making the research paper interesting.In interior decoration, undoubtedly, line and proportion are the most important elements but it falls to the lot of few to be able to dictate what they desire in these spheres. Most of the people are content to limit their interior decoration activities to colour only, as this can be cheaply applied to the walls and choice of small accessories etc. Moreover, changing the colour also changes the look and ambience of an interior instantly and intensely. It also helps in expressing one’s personality in their interior and these can be easily done with colour. Colour, therefore, plays the major part in decorative schemes.
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Lawson, Jane A. "Rainbow for a Reign: The Colours of a Queen's Wardrobe." Costume 41, no. 1 (June 1, 2007): 26–44. http://dx.doi.org/10.1179/174963007x182318.

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This paper evaluates the wardrobe of Queen Elizabeth I on the basis of the colours that she wore. The author takes an often quoted comment, that Elizabeth I stated 'these are my colours' of black and white, and using evidence collected from the New Year's gift rolls provides details of over thirty different colours worn by the queen. The article examines the colours in groups to see if they were associated with a particular time in Elizabeth's life, a particular occasion or activity. The paper is supported by appendices providing a glossary of colour and dress terms, the years when particular colours were worn, how they were used, if they were used in combination with other colours and a list detailing the locations of the extant gift rolls.
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De Winter, Stefanie, Pieter Moors, Hilde Van Gelder, and Johan Wagemans. "Illusory Depth Based on Interactions Between Fluorescent and Conventional Colours: A Case Study on Frank Stella’s Irregular Polygons Paintings." Art and Perception 6, no. 2-3 (October 17, 2018): 116–50. http://dx.doi.org/10.1163/22134913-20181093.

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Although Frank Stella intended to create flat, illusion-less Irregular Polygons paintings, it is not uncommon to experience the illusion of colour depth, based on the interaction between their fluorescent and conventional colours. Some critics praised these artworks’ flatness, while others described odd depth experiences that they categorised as a new kind of illusion. In order to provide a correct reading of these works and to reassess their art historical significance, a scientific case study regarding this colour-depth effect imposes itself. This article discusses an experiment in which we determined whether twenty artists, twenty art historians and twenty laypeople experienced fluorescent colours as protruding, receding or flat in combination with conventional colours. We additionally looked at whether they still perceived colour depth when all fluorescent colours were replaced with their conventional variants. All participants observed fifteen designs, which they had to rate according to the perceived depth of each coloured region with a number between −3 (strongly receding) and +3 (strongly protruding). The results revealed that most participants experience fluorescent regions as strongly protruding, unlike all conventional colours, which were rated as much less protruding. When a fluorescent colour was swapped with a conventional variant, all participants experienced significantly less depth. The differences between the subject groups were statistically negligible when looking at the mean depth ratings for both colour types. However, we discovered that artists experienced more contrast effects, as they gave different ratings to different panels (of identical colour and shape) in the same design, depending on their position.
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Mitchell, Daniel Jon. "Reflecting nature: chemistry and comprehensibility in Gabriel Lippmann's ‘physical’ method of photographing colours." Notes and Records of the Royal Society 64, no. 4 (October 13, 2010): 319–37. http://dx.doi.org/10.1098/rsnr.2010.0072.

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The origins of colour photography are typically traced to mid-nineteenth-century ‘three-colour’ processes based on a mixture of three primary colours. At the time, however, images produced by these means were pejoratively labelled ‘photographs in colours’ and not ‘colour photographs’ because they did not result solely from the direct action of light. In 1891, the French physicist Gabriel Lippmann claimed to have developed a direct, ‘physical’ method of colour photography, which the French industrialists Auguste and Louis Lumière subsequently improved. This article charts the rise and fall of so-called ‘interferometric’ colour photography and evaluates Lippmann's suppression of the chemical aspects of his work, in the context of his award of the 1908 Nobel Prize in Physics.
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De Winter, Stefanie, Nathalie Vissers, Christophe Bossens, and Johan Wagemans. "Instantaneous Art? Investigating Frank Stella’s Moroccan Paintings with a Short-Exposure Experiment." Art and Perception 8, no. 2 (June 8, 2020): 121–57. http://dx.doi.org/10.1163/22134913-bja10001.

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In his search to create ‘instantaneously capturable’ paintings, Frank Stella started to use Day-Glo alkyd paints as a vehicle to communicate his simple, striped designs. Up till now, art criticism has neglected the visual impact of these fluorescent colours on this concept of ‘instantaneous art’. By presenting participants with Stella’s designs (fluorescent and conventional variants) for short presentation times (8 to 12 ms), we aimed to find out whether fluorescent colour combinations are seen faster (i.e., yield better performance in identifying the specific design) than their conventional counterparts. In general, participants were very good in identifying the correct design among distractors, which means that the pattern and colour combinations based on Stella’s work do seem to be ‘instantaneously capturable’. However, Stella’s formula for ‘instantaneous’ paintings is not identical for the different combinations. When exploring fluorescence in combination with other aspects of the design (colour and pattern), we found two effects that seemed to predict performance. First, performance seemed to depend on specific design patterns. Second, fluorescence seemed to interact with specific colour combinations in predicting performance. The red/yellow designs yielded better performance for the fluorescent variants, while the opposite was found for the green/orange designs. Contrast differences in luminance between the two colours of each colour combination might explain part of the results. On the other hand, the effect of fluorescent colours might have been watered down by the confusion between the hand-printed fluorescent colours and the computer display used for the identification task, which only showed conventional colours.
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Kaplan, Haktan, and Selçuk Peker. "The Image of Colour and Number in Fairy Tales: The Case of Bolu Folk Tales." Journal of Education Culture and Society 14, no. 1 (June 20, 2023): 597–618. http://dx.doi.org/10.15503/jecs2023.1.597.618.

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Aim. How the concepts of colour and number in Bolu tales are perceived in the beliefs and lives of cultures has been examined in our study. We tried to find an answer to the importance of colour and number images in Turkish culture, to compare them with literary works in the literature, in what sense these images are used and whether there is a fundamental point in these areas of use. Methods. In this study, the method of literature review, which is one of the qualitative research techniques, was used. Various researches previously discussed on this subject were also used as auxiliary elements. Results. Since the scope of our study is within certain limits, common colours, and numbers, which are more common in Turkish culture, are discussed. The white, black, green, and yellow colours are detected in Bolu tales; the numbers three, seven and forty carry the meanings assigned to them in Turkish culture and Islam. Conclusion. This study, the use of colours and numbers in fairy tales was examined in Bolu tales and a generalisation was reached. As a result of the colours and numbers being images in the 88 fairy tales examined, the colours and numbers determined in the tales were handled from a historical, religious and cultural point of view; first of all, explanations were made about the meaning of the concepts of colour and number and how they existed, and it was determined in which context of meaning the explanations were reflected imaginatively in Bolu tales.
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MaBouDi, HaDi, James A. R. Marshall, and Andrew B. Barron. "Honeybees solve a multi-comparison ranking task by probability matching." Proceedings of the Royal Society B: Biological Sciences 287, no. 1934 (September 2, 2020): 20201525. http://dx.doi.org/10.1098/rspb.2020.1525.

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Honeybees forage on diverse flowers which vary in the amount and type of rewards they offer, and bees are challenged with maximizing the resources they gather for their colony. That bees are effective foragers is clear, but how bees solve this type of complex multi-choice task is unknown. Here, we set bees a five-comparison choice task in which five colours differed in their probability of offering reward and punishment. The colours were ranked such that high ranked colours were more likely to offer reward, and the ranking was unambiguous. Bees' choices in unrewarded tests matched their individual experiences of reward and punishment of each colour, indicating bees solved this test not by comparing or ranking colours but by basing their colour choices on their history of reinforcement for each colour. Computational modelling suggests a structure like the honeybee mushroom body with reinforcement-related plasticity at both input and output can be sufficient for this cognitive strategy. We discuss how probability matching enables effective choices to be made without a need to compare any stimuli directly, and the use and limitations of this simple cognitive strategy for foraging animals.
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Dissertations / Theses on the topic "History of colours"

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Bideaux, Kévin. "La vie en rose : petite histoire d'une couleur aux prises avec le genre." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080021.

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Des jouets roses « pour filles », aux innombrables représentations de femmes en rose, « le rose c’est pour filles » est un constat et une affirmation performative, c’est-à-dire autoréalisatrice. Il est à la fois un symbole de féminité, et il associe au féminin tout ce qu’il colore. Partant du désir de comprendre les origines et les modalités de l’association du rose à la féminité, la thèse s’attache à déployer une histoire de cette couleur depuis les premiers colorants roses, en passant par le XVIIIe siècle, une histoire de ses symboliques liées — ou non — au genre, de ses usages et de ces mésusages, de ses rejets et de ses appropriations. À l’intersection des études de genre et des études sur la couleur, elle met en évidence les idéologies sous-jacentes aux emplois du rose, et leurs répercussions sur les femmes, mais aussi les hommes, en termes de construction identitaire et de rapports sociaux. Employé dans les arts visuels, comme dans le cinéma, les jeux vidéo, la mode ou le marketing, le rose participe au processus de catégorisation de genre à travers son esthétisation et la répétition de stéréotypes. Porté par des hommes, il connote l’efféminement, voire l’homosexualité, confirmant son lien au féminin par son incompatibilité symbolique au masculin. Les tentatives militantes de réappropriation du rose comme emblème par luttes féministes, gayes ou queeres, ne parviennent pas à se défaire de son lien à la féminité, et le renforcent paradoxalement. Le rose se révèle ainsi être une technologie de genre, telle que la définit Teresa de Lauretis : sa représentation est sa construction
From pink toys to countless representations of women in pink, “pink is for girls” is both fact and performative assertion — that is to say a self-fulfilling one. It is both a feminine symbol and associates everything it colours with femininity. Stemming from the desire to understand the origins and modalities of the association of pink with femininity, this thesis endeavours to follow the history of the colour since the first pink dyes, with a focus on the eighteenth century during which pink grew in popularity; a history of its symbolism linked — or not — to gender, its uses and misuses, its rejections and appropriations. At the intersection of gender studies and colour studies, this thesis highlights the ideologies underlying the use of pink, and their repercussions on both women and men, in terms of identity construction and social relations. Present throughout the visual arts, as well as in cinema, video games, fashion and marketing, pink participates in the process of gender categorisation through its aestheticisation and repetition of stereotypes. When worn by men, it connotes effeminacy, even homosexuality, confirming its feminine link through its symbolic incompatibility with the masculine. Militant attempts to reappropriate pink as an emblem by feminist, gay or queer communities have not managed to erase pink’s link to femininity, and paradoxically have reinforced it. Pink is thus revealed as a technology of gender, as defined by Teresa de Lauretis: its representation is its construction
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Eastaugh, Nicholas John. "Lead tin yellow : its history, manufacture, colour and structure." Thesis, Courtauld Institute of Art (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295156.

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Geraghty, Kathryn. "Colors of the Western Mining Frontier| Painted Finishes in Virginia City, Montana." Thesis, University of Oregon, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10599315.

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Virginia City once exemplified the cutting edge of culture and taste in the Rocky Mountain mining frontier. Weathering economic downturns, mining booms and busts, and the loss of the territorial capital to Helena, Virginia City survives today as a heritage tourism site with a substantial building stock from its period of significance, 1863-1875. However, the poor physical condition and interpretation of the town offers tourists an inauthentic experience. Without paint analysis, the Montana Heritage Commission, state-appointed caretakers of Virginia City cannot engage in rehabilitation. As of 2017, no published architectural finishes research exists that provides comparative case studies for the Anglo-American settlement of the American West between 1840-1880, for American industrial landscapes, or for vernacular architecture in Montana. This thesis offers a case study of five buildings to add to the body of scholarly architectural finishes research, provide rehabilitation recommendations, and provide a published, baseline study for future research.

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Fowlie, Martin Kenneth. "Colour polymorphism in the common buzzard : evolution and life history consequences." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/6195/.

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The detrimental effects of inbreeding are well known, and they have been shown to be associated with lower levels of reproductive success, higher levels of parasitism and differences in disease susceptibility. To better understand large fitness differences between morphs in the colour polymorphic common buzzard, Buteo buteo, we investigated differences in the levels of internal relatedness between morphs. As the common buzzard mating system is non-random and the light and dark morph individuals are less abundant than the intermediates, it could be the case the extreme colour morph individuals are more inbred. However, no differences were found in levels of inbreeding. In birds, the physiological and behavioural consequences of colour polymorphisms are not widely known. Here we used an experiment to investigate the effect of this melanin-based polymorphism on nest defence behaviour in the common buzzard. Among males, light morphs were found to be significantly more aggressive to a perceived threat of nest predation than either intermediate or darkly coloured birds, while there was a non-significant tendency for the reverse among females. The level of aggression observed for each member of a pair was independent of the level of aggression shown by the other member. These results illustrate that polymorphisms can be associated with alternative reproductive tactics in birds, and suggest a possible link between the biochemistry of melanin production and individual behaviour. For most species living in seasonal environments, timing is an important determinant of the success of a breeding attempt. Individuals also face a trade off between current and future reproduction. Here we investigated whether colour morphs differed in their timing of breeding. Light-light and dark-dark pairs were found to breed earlier than the population mean, with light-dark pairs fledging chicks slightly later. Differences in reproductive strategies between morphs may account for the observed differences.
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Molina, Giralt Glòria. "Colour and technology in historic decorated glazes and glasses." Doctoral thesis, Universitat Politècnica de Catalunya, 2014. http://hdl.handle.net/10803/144623.

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Historical decorated glass and glazed ceramics are studied with the object to determine the technology of production and to relate it with the optical properties (colour, shine, opacity). Four different case of study are investigated: production technology and replication of lead antimonate yellow glass from New Kingdom Egypt and the Roman Empire, technology of production of polychrome lustre, analyses of Syrian lustre pottery (12th–14th centuries AD) and study of color and dichroism of silver stained glasses. These different coloured glazes or glasses have in common to be produced by the presence of micro or nanoparticles embedded into the glaze which give their special optical effect. Chemical and microstructural analyses are performed using a selection of complementary Microscopic and Spectroscopic techniques that are the most adequate for the analyses of each decoration. Physical optical properties are also modeled and measured by means of UV-Vis spectroscopy. The composition and structure of the different phases formed during the processing of the decorations in historical times is obtained with the object to learn about their stability and processing conditions and to relate them to their optical properties
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Villa-Vicencio, Heidi. "Colour, citizenship and constitutionalism : an oral history of political identity among middle-class coloured people with special reference to the formation of the Coloured Advisory Council in 1943 and the removal of the male franchise in 1956." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/22562.

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Bibliography: pages 173-186.
This thesis explores the political identity of middle-class coloured people in metropolitan Cape Town focusing particularly on the period extending from the formation of the Coloured Advisory Council in 1943 to the removal of the qualified coloured male franchise in 1956. The findings of the thesis are based largely on thirty-one random interviews with coloured men and women over the age of sixty-three. All of the males had the vote and either the fathers or husbands of all the women had enjoyed the vote. The 'open attitude' style of interviewing was employed, enabling the interviewees to help frame the discussions. Politics for most of my respondents was not an integral influence within their childhood. Most men, however, recalled their fathers voting and have clear memories of election days, political movements of the time and meetings that took place. All, except one, became teachers. Their post-secondary education, often at the University of Cape Town, encouraged most to grapple with the political and social processes of the day. By the 1940s the majority of the males began to challenge the prevailing political structures and beliefs of mainstream coloured society. The childhood memories of political events of most women were comparatively less pronounced. Some recalled their fathers voting, although memories of their mothers involvement in church and welfare activities are clearer. They also recalled political events that affected them directly. Most of the women interviewed either became teachers or they married teachers. This exposed them to what they saw as male-dominated coloured politics and they experienced a sense of political alienation from these political processes. This does not necessarily imply that they were apolitical. On the contrary, looking back, they see themselves as having given expression to political concerns in alternative ways. They also showed greater interest in 'white politics' as expressed through the United Party accepting that it was 'white politics' that ultimately had the power to determine their social and economic well-being. Most women showed limited concern about the removal of qualified males from the common voters' roll. They saw this as having a minimal impact on their social well-being. It was largely the Group Areas Act that socially and economically affected their lives, giving rise to a heightened level of political awareness and involvement. The ambiguities and divisions which marked middle-class coloured political groupings could be attributed partly to the historical policies of social-engineering practised by successive governments, whose intention was to construct a coloured political identity separate from whites, while being grounded in civil privileges not extended to Africans. Most of my interviewees acknowledged that by the 1940s they had accepted these privileges. They were naturally reluctant to see these undermined politically. From 1948 onwards middle-class coloured privileges began to be eroded. This signalled the emergence of a new era of coloured identity.
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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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Mitchell, Michele D. "The Color Line and Georgia History Textbooks: A Content Analysis." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/sociology_theses/38.

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The purpose of this research is to define racialized textbook bias, conduct a content analysis of Georgia history textbooks, and answer the following question: how is race framed in contemporary Georgia history textbooks? A content analysis of nine Georgia history textbooks was completed for grades two and eight. A Du Boisian theoretical framing of race prejudice as the macro-social condition of the micro-social process of race was an integral component of the content analysis. The findings revealed the existence of racialized textbook bias in the form of marginalization, compartmentalization, and omission suggesting the continuation of White supremacy and Black oppression in the process of education in Georgia public schools.
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Beckett, Jane. "Colour theory and foundations of the Dutch avant-garde 1990-1926." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267253.

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Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.

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Books on the topic "History of colours"

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Hansen, Egon H. Tablet weaving: History, techniques, colours, patterns. Højbjerg, Denmark: Hovedland Publishers, 1990.

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Flying colours: Airline colour schemes of the 1990s. Osceola, WI, USA: Motorbooks International, 1994.

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Morton, John K. Flying colours: Airline colour schemes of the 1990s. Shrewsbury: Airlife Pub., 1994.

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Tahir, M. Athar. Pakistan colours. Karachi: Oxford University Press, 2001.

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Tahir, M. Athar. Pakistan colours. Oxford: Oxford University Press, 2001.

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Heyer, Georgette. False Colours. Waterville, Me: Thorndike Press, 2011.

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Heyer, Georgette. False Colours. Naperville: Sourcebooks, Inc., 2008.

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Heyer, Georgette. False colours. London: Arrow, 1992.

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Hawdon, Lindsay. Jakob's Colours. London, England: Hodder & Stoughton General Division, 2015.

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Forester, C. S. Flying colours. Boston: Back Bay Books, 1999.

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Book chapters on the topic "History of colours"

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Herbert, Stephen. "Television in Colours." In A History Of Early Television Vol 2, 285–93. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032660363-61.

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Gallois, William. "A Future Painted in Sombre Colours." In A History of Violence in the Early Algerian Colony, 122–44. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137313706_6.

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Bellamy, Nicholas. "Clinical History." In Colour Atlas of Clinical Rheumatology, 11–17. Dordrecht: Springer Netherlands, 1985. http://dx.doi.org/10.1007/978-94-009-4882-2_1.

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Fritsch, Rudolf, and Gerda Fritsch. "History." In The Four-Color Theorem, 1–41. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-1-4612-1720-6_1.

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Nelson, Robert. "Colour." In A History of Inspiration through Metaphors of Learning, 185–201. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003275435-18.

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Schulman, Sarah. "United colors of homophobia." In My American History, 269–71. Second edition. | Abingdon, Oxon;: Routledge, 2018. http://dx.doi.org/10.4324/9781315121765-64.

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Crone, Robert A. "The mixing of colors." In A History of Color, 133–40. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-007-0870-9_9.

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Kwek, Theophilus. "Full colour illustrations." In Southeast Asian Education in Modern History, 158–77. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge studies in the modern history of Asia ; 133 | Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315161211-11.

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Herbert, Stephen. "Baird Colour Television." In A History Of Early Television Vol 2, 104–5. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032660363-38.

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Phiri, Aretha. "Coloured by history, shaped otherwise." In The Short Story in South Africa, 46–62. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003226840-3.

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Conference papers on the topic "History of colours"

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Santos, Gabriela, and Cristina Carvalho. "Ergonomic Fashion Design: Sustainable Dyes." In Applied Human Factors and Ergonomics Conference. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001318.

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Water waste, contamination, and fossil fuel generated energy are acknowledged issues within the textile industry. Current dyeing processes pose serious threat to the environment and human health, often associated with toxic and carcinogenic substances that are released into the environment, through effluents not conveniently treated before being discharged into natural waters. Besides print and pattern, consumers demand for basic characteristics in textiles – these must resist to agents that cause colours to fade. On the other hand, industry must provide a great range of colours and access to huge quantities of coloured substance to dye. Simultaneously, it must be cost-effective. Natural dyes are perceived as less harmful for the environment due to its biodegradable nature. Studies reveal certain natural dyes possess UVR protection properties, as well as antimicrobial and anti-inflammatory assets. Nevertheless, depending on the nature of the dye, there are many advantages and disadvantages to consider.Through an extensive study on various fields such as Biotechnology, History, Ethnography, Biology, Archaeology, amongst many others we gathered information regarding natural coloured compounds, colour sources (plants, animals and microorganisms), ancient and modern techniques of extraction and application. This study shows the evolution of dyes throughout the centuries. It also reveals that the revival of natural dyes in addiction to new cutting edge technologies such as biotechnology might allow for an industrial feasibility.
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Wang, Haina, Fangfei Liu, and Yun Chen. "The Characteristics and Influencing Factors of the Colour of the Cizhou Kiln Porcelain." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004222.

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Chinese ceramic art boasts a rich and diverse history, and the colours of porcelain produced by different kilns reflect the aesthetic preferences, socio-cultural developments, and historical contexts of various periods and regions. Among the folk kilns in China, the Cizhou kiln stands out for its unique black-and-white colour scheme. While existing studies have extensively analyzed the history, decorative patterns, and shapes of Cizhou porcelain, few have explored the colour characteristics of the kiln and the factors that influence them. Therefore, this study aims to conduct a comprehensive investigation into the colour characteristics of Cizhou porcelain and shed light on the underlying factors that shape them. Methods: In this study, a dataset comprising 50 images of ancient Chinese porcelain and 50 images of Cizhou kiln porcelain was sourced from the internet. The main colours of each porcelain were extracted to construct the Ancient Chinese Porcelain Palette and the Cizhou Kiln Porcelain Palette, respectively, to analyze the colour characteristics of Cizhou kiln porcelain by comparing them to those of Ancient Chinese Porcelain. It was found that the porcelain from the Cizhou kiln is mainly black and white, with sharp contrast and simplicity, reflecting a unique aesthetic style. In addition, semi-structured interviews were conducted with a docent of the Cizhou Kiln Historical Museum, local potters, and the owner of a porcelain shop to verify the results of the image analysis and explore the factors that influence the colour of the porcelain. The interview results were coded at three levels to extract keywords regarding the characteristics and influencing factors of the colour of the porcelain of the Cizhou kiln.Results: The study revealed that the colours of the Cizhou kiln porcelain are mainly black and white, and they are mainly influenced by the period, region, and social culture. Firstly, the unique colour style of the Cizhou kiln porcelain developed during the Song Dynasty, but it changed over time with changes in the social environment, aesthetic concepts, and production process. Secondly, the rugged and bold character of the local inhabitants and the mineral raw materials unique to the region also influenced the choice of colour. Lastly, the Cizhou kiln is a civil kiln with more artistic freedom compared to official kilns, reflecting folk aesthetic interests and presenting bold, natural, and simple colours.Research Significance: This study of the Cizhou kilns from the perspective of colour is of great significance for a deeper understanding of the porcelain of the Cizhou kiln and provides helpful insights for exploring the trajectory of the development of traditional Chinese ceramic art and aesthetic changes. The results of the study can contribute to the innovation and promotion of the development and dissemination of ceramic art in contemporary society. Furthermore, the study results in a model of the colour-influencing factors of the porcelain of the Cizhou kiln, which is of extensive reference significance for the investigation of the reasons for the formation of the colours of other porcelain.
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Ceriachi, Melissa. "RECOVERY OF A SEVERELY DETERIORATED PAINTING: THE MARTYRDOM OF SAINT SEBASTIAN BY GIOVANNI SANTI (15TH CENTURY). INTEGRATIVE PROPOSAL." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13492.

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This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint, located in Urbino's Church of San Bartolomeo. The history of this work of art is inextricably linked to that of its conservation: initially, the artwork was difficult to read due to the serious state of deterioration of the paint layer, with a loss of significant portions of the painting, including pictorial parts that played a decisive role in the rendering of the image. This had significant implications when it came to choosing the methodology for the pictorial reintegration of the painting. The aim was to reduce the negative effects caused by the state of deterioration as much as possible, to improve the readability of the work. Following a conservative restoration of the panel and of the polychromy, and after submitting it to art historian officer for a careful and close evaluation, a differentiated pictorial reintegration of the work was planned, applying the Florentine “selezione cromatica" method for the main figure, Saint Sebastian, and for all lacuna treatments. This intervention was carried out using tempera colours, overlapping by hatching three pure colours, chosen from the primary and secondary colours. I continued the “selezione cromatica” on the integrations, using varnish colours until achieving the desired tone, maintaining a tone of brilliancy and chromatic vivacity similar to the painting by Santi. The other parts of the painting had been very seriously damaged due to irrecoverable losses and can no longer be reconstructed; these were treated by experimenting with the “chromatic abstraction” reintegration with tonal variations within the layers of abstraction. The method involves the application of a cross-hatching where no shape is reconstructed, in a four-colour scheme (yellow, red, green/blue, black), in tempera colours.
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Halland, Ingrid. "Hyper-White Entanglements: A Brief History of Titanium White." In 2021 ACSA Teachers Conference. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.teach.2021.38.

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The inorganic compound titanium dioxide has progressively brightened our world throughout the 20th century. Titanium dioxide (hereafter TiO2) was invented and patented as a white pigment for the colour industry by Norwegian chemists Peder Farup and Gustav Jebsen in the early 1910s, and the industrial production of TiO2 for the global market began in the mine Titania and the factory Titan Co (today Kronos Titan), both in Norway, in 1916. TiO2 as a colour pigment was named Titanium White and the advertisements described the paint as “the whitest white” or “absolute white” due to its pure white colour tone, its stability and resistance against chemical influences, and its maximum ability to hide the substance underneath. As a result of its ability to also protect materials against the toxic influences of sunlight and weather, the substance was progressively used in combination with other colours (as coating for concrete, glazing for ceramics, and additives in plastic) thereby changing the aesthetics of surfaces in architecture and design. Today TiO2 is literally present in every part of modern life. Yet although circulating extensively through our material, biological, and economic systems, TiO2 is most of the time completely unnoticeable: it hides in the food we eat, in the paper we print on, in wall paint and concrete coating, in lipsticks, concealers, sunscreens, pills, and smart phones. If the European Green Deal is to succeed, new material awareness needs to be implemented, as “increasing material efficiency is a key opportunity to move towards the 1.5° C goal set by the Paris agreement.”1 We need to know more about how mineral extraction and patterns of consumption are linked. In order to better understand materials and their properties, and by extension a better oversight of the environmental impact of materials, design students need material knowledge. I argue in this paper that environmental history could be valuable for a better understanding of the environmental impact of materials. In this paper, a brief reading of the historical background and material properties of TiO2, will bring forth, unpack, and analyze some of the messy entanglements between modernist homogenization, global extraction economy, and our present-day material surroundings.
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Gamito, Margarida, and Fernando Moreira Da Silva. "UrbanCroma: Chromatic Methodology applied to Oeiras Municipality, Portugal." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001997.

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This paper presents a research work, inserted in the post-Doctoral applied investigation which aims to test and validate this new methodology. UrbanCroma, the chromatic planning methodology for urban furniture which was applied in Oeiras Municipality, is part of a theoretical and practical work carried out during the research for a PhD thesis, in which the present methodology was developed. Thus, UrbanCroma is mainly intended to be applied into the elaboration of chromatic plans for urban furniture, whose needs do not completely correspond to those proposed by other existing methodologies, destined almost exclusively to be applied to the built environment, i.e., to architecture. These chromatic plans, allow the full performance of Urban Furniture functions, improving its use, and transforming it in a factor of inclusivity, as its elements will become more visible and legible as they stand out from the surrounding environment, whether being built or landscape. Likewise, this methodology has an identification and orientation function, since its elements will constitute harmonic chromatic sets that, although they establish a strong contrast with the surrounding environment, respect the local chromatic traditions, identify the neighborhoods or urban areas and, by their variation, constitute orientation landmarks throughout the city. In this case study ─ Oeiras Municipality ─ that have settlements both on the interior and on the sea front, and is at the same time a miscellanea of old and contemporary, were chosen three different localities: Laje, Carnaxide Historic Center, and a new urban area of Carnaxide. These locals, that encompass social neighborhoods, traditional settlements and modern building urbanizations, inevitably have several characteristics that allow the application of this methodology to a wide range of neighborhoods. So, UrbanCroma application starts by choosing samples areas, which will encompass the case study most representative zones, applying there the new methodology to all furniture elements, in order to increase their potentiality as relevant issues for city color planning. In all these intervention areas, all the colors present in the environment are recorded, being it built or landscape, taking in account all the changes due to climatic variations and the non-permanent colors, whose presence has enough importance to be considered as environmental colours. All these colors were, then, registered in files and maps, in order to create a data-base allowing the identification of all environmental colors. The set of these colors permitted the establishment of the local dominant colors and, these ones, along with the contribute of the local history and culture, constitute the scientific basis upon which, it was established a very comprehensive urban furniture chromatic plan, with scientific rigor, for Oeiras Municipality case study.
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Deng, Xiaoxiao, Dihao Zhang, and Shuang Yang. "Revitalizing historic urban quarters by Cityscape-control plan The case of Xi’an, China." In 55th ISOCARP World Planning Congress, Beyond Metropolis, Jakarta-Bogor, Indonesia. ISOCARP, 2019. http://dx.doi.org/10.47472/dnrt1591.

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In globalization ear, a large number of cities around the world are losing their features with the impact of powerful alien culture. Furthermore, China has been experiencing rapid urbanization. Full speed construction calls for the standardization instead of the uniqueness, which have brought threat to characteristics of cities. Homogeneous images of cities can be seen everywhere. Local cityscape, as the identity of the indigenous culture, is becoming increasingly scarce resource and competitive power for city in the field of global competition. Cities in China, who have realized the importance of history and culture in recent years, started to preserve and improve local cityscape by the tools of urban planning and design. Taking the historic urban quarters around the Daming Palace National Heritage Park as an example, the Cityscape Control Plan is researched as a method to preserve and optimize the cityscape in the historic area during the process of urban regeneration. The project is located in Xi’an, a megacity with more than 9.6 million population. Daming Palace used to be the imperial palace of the country in Tang Dynasty (AD634-896). Quarters around it has become a decayed area with squatter settlements nowadays. The municipality tries to bring in new opportunities for the area with a Cityscape Control Plan, which offers a possible solution to combine global and modern function with local and historic cityscape. Learning from the theories of city image, urban morphology and typology, the concept of cityscape and Cityscape Control Plan are defined theoretically. Secondly, an integral cityscape structure for the area is constructed and several spatial guidelines are created in terms of morphology，street interfaces, building heights, architectural styles, architectural colours, etc. All the guidelines are integrated and detailed to specific form codes for each blocks, which can be used as an administrative tool to restrict all the related construction activities. With these efforts, the historic features and innovative features are combined to identify a unique cityscape in this area, bring in a “glocal” (global-local) solution for the revitalizing of the historic mega city as Xi’an
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Lee, Raymond L. "Rethinking the Rainbow’s Colors." In Light and Color in the Open Air. Washington, D.C.: Optica Publishing Group, 1990. http://dx.doi.org/10.1364/lcoa.1990.wb6.

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For most of us, the phrase "all the colors of the rainbow" conjures an image of the natural rainbow1 as a paragon of color variety and vividness. Indeed, both our language and art often invoke the rainbow as a color palette without peer.2 Yet as a color standard, the rainbow has an oddly contentious history. For example, arguments about the number of rainbow colors date to antiquity, with observers as keen as Aristotle3 (who favored three colors) and Seneca the Younger4 (who favored an indefinite number) among the disputants. That this disagreement still persisted in Georgian England2 (and indeed to the present) hints that the rainbow poses special perceptual problems.
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Gamito, Margarida, and Fernando Moreira da Silva. "Urban Furniture − Colour and Inclusivity." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0060.

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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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Lakshminarayanan, Vasudevan. "Color mixing: the history of the color disk." In Light in Nature VIII, edited by Joseph A. Shaw, Katherine Creath, and Vasudevan Lakshminarayanan. SPIE, 2020. http://dx.doi.org/10.1117/12.2570636.

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Reports on the topic "History of colours"

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Fader, G. B. J., R. O. Miller, and B. J. Todd. Making a three-dimensional model of Halifax Harbour, Nova Scotia, Canada. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331507.

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Halifax Harbour is one of best-studied harbours in the world. Researchers at the Bedford Institute of Oceanography map the seabed, perform geochemical analyses of sediment core samples, measure currents and tides and study the effects of pollution on the biota. To illustrate the complexity and intricate detail that exists on the seabed, a physical relief model of the harbour and surrounding area was constructed using the most recent technology. The model, which was milled from lightweight surfboard foam, shows underwater relief (bathymetry) as well as the land topography. Onshore, high-resolution satellite imagery was "draped" over the topographic relief using a specially designed 3-D plotter. In underwater areas, bathymetry is represented by a suite of colours ranging from light blue, to indicate shallow areas, to darker blue for deeper water. Computer generated shading was applied to emphasize detailed texture. Four "zoom" panels were also produced to focus on some of the finer details that are evident in the seabed. These details help us understand more about the harbour's geological history as well as the processes that are active today, both natural and man-made. This poster explains the many stages in the process of creating the Halifax Harbour relief model.
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Nowlan, G. S., and C. R. Barnes. Thermal maturation of paleozoic strata in eastern Canada from Conodont Colour Alteration Index (CAI) data with implications for burial history, tectonic evolution, hotspot tracks and mineral and hydrocarbon exploration. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1987. http://dx.doi.org/10.4095/122453.

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Martin, Kathi, Nick Jushchyshyn, and Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Eastman, Brittany. Micromobility, User Input, and Standardization. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, July 2023. http://dx.doi.org/10.4271/epr2023015.

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<div class="section abstract"><div class="htmlview paragraph">Micromobility is often discussed in the context of minimizing traffic congestion and transportation pollution by encouraging people to travel shorter (i.e., typically urban) distances using bicycle or scooters instead of single-occupancy vehicles. It is also frequently championed as a solution to the “first-mile/last-mile” problem. If the demographics and intended users of micromobility vary largely by community, surely that means we must identify different reasons for using micromobility.</div><div class="htmlview paragraph"><b>Micromobility, User Input, and Standardization</b> considers potential options for standardization in engineering and public policy, how real people are using micromobility, and the relevant barriers that come with that usage. It examines the history of existing technologies, compares various traffic laws, and highlights barriers to micromobility standardization—particularly in low-income communities of color. Lastly, it considers how engineers and legislators can use this information to effectively innovate micromobility devices and regulatory frameworks that meet the needs of communities while effectively outlining guidelines for providers. These are processes must happen concurrently and inform one another.</div><div class="htmlview paragraph"><a href="https://www.sae.org/publications/edge-research-reports" target="_blank">Click here to access the full SAE EDGE</a><sup>TM</sup><a href="https://www.sae.org/publications/edge-research-reports" target="_blank"> Research Report portfolio.</a></div></div>
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Indigenous presence in Bolvian Folk Art: Folk Art in Bolivia: Celebration of Everyday Life. Inter-American Development Bank, November 2004. http://dx.doi.org/10.18235/0006412.

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Bolivian folk art is created in both urban and rural areas, and like the people of Bolivia themselves, it bears a strong indigenous imprint. Many contemporary works owe their current form to lengthy cultural processes over centuries, during which time local materials were worked, forms took shape, color codes were chosen, and iconographies defined. This cultural treasure is transmitted from generation to generation, and comprises a whole that brings us close to the aesthetic and symbolic world of cultures of the past and the present. Understanding the folk art produced in Bolivia today requires situating it in its cultural context and tracing its evolution through history. In other words, the whole in this case is greater than the sum of its parts: folk art objects are very much manifestations of the broader cultural developments from which they arise.
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Creation of a full color geologic map by computer: A case history from the Port Moller project resource assessment, Alaska Peninsula: A section in Geologic studies in Alaska by the U.S. Geological Survey, 1988. US Geological Survey, 1989. http://dx.doi.org/10.3133/70180213.

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