Traditional colour theory: A review

Author(s):  
Zena O'Connor
Keyword(s):  
1942 ◽  
Vol 26 (10) ◽  
pp. 97-104
Author(s):  
Takasi Azuma ◽  
Gyosiro Imotani ◽  
Ume Umekawa
Keyword(s):  

2006 ◽  
pp. 202-208
Author(s):  
Christine Ladd-Franklin
Keyword(s):  

Author(s):  
Inês Veiga Pereira ◽  
José Duarte Santos ◽  
Inês Nunes de Carvalho

This study aims to analyse the colours associated with Portuguese healthcare units and medical centres—namely the colour of their logo, through environmental colour mapping—and understand if the colour management choices match the desired perception of a healthcare unit and identify new colour combinations that can serve as a differentiation factor and simultaneously get the desired interpretation of the brand. The logos of 24 healthcare centres were randomly selected. The images were collected through the SNS web page dedicated to each facility and were later processed in Adobe Photoshop CC. The colours of each logo were catalogued and sorted according to their hue. It was observed that the majority of the colours used corresponded to blues and greens, which was to be expected considering their symbolism: stability, calm, relaxation, and serenity. Lastly, four new colour schemes were created, which, in addition to being differentiated from the previously identified schemes, are evocative of desirable characteristics for a brand associated with a healthcare unit.


1935 ◽  
Vol CLXVIII (may18) ◽  
pp. 352-353
Author(s):  
R. B. Hepple

Leonardo ◽  
2010 ◽  
Vol 43 (3) ◽  
pp. 314-315
Author(s):  
Jurij Selan
Keyword(s):  

The author explores the explicatory powers of the method of hypothetical artwork modelling on the problematic taken from colour theory. While constructing two hypothetical artwork models, the author tries to show that the painters' fallacy concerning primary colours is not necessarily a fallacy at all.


Nuncius ◽  
2007 ◽  
Vol 22 (1) ◽  
pp. 15-48
Author(s):  
JOOST MERTENS

Abstracttitle ABSTRACT /title Between 1810 and 1825, Charles Bourgeois (1759-1832), miniaturist, pigment manufacturer and physicist, developed a colour optics that defied both the Newtonian view of the composite nature of white light and the widely accepted strict separation between science and the arts. In this paper four themes are discussed: the general rules of colour mixing and the resulting three-dimensional colour space CEI (Couleur, Excdent, Intensit); Bourgeois' theory of light as a vehicle for non-luminous colours; His attempt at disproving Newton's central principle of the unequal refrangibility of different colours; and his relation, or rather non-relation, with the Royal Academy of Sciences which considered Bourgeois' theory of light a piece of nonsense.


Sign in / Sign up

Export Citation Format

Share Document