Praktična primena teorije boja Johanesa Itena na vizuelni identitet 'cohousing' zajednica

The study of color is a fascinating topic because of the attraction colors exert on humanity since ancient times and also for its application in the various segments of human activities, representing a powerful tool for the transmission of ideas. The main objective of this research is to present an analysis of the application of color in the work of French designer Christian Lacroix, and it is grounded on the theory and practice of the use of color and the color attributes: hue, brightness, saturation and their relations in the fashion context. I have focused on the theory of color by Johannes Itten , senior lecturer at the Bauhaus (German school of art and design); and on the methodology of Jean and Dominique Lenclos, called "geography of colors". We know the color offers endless possibilities to be worked with as a creative element and this study seeks to systematically support the use of color, from different aspects. This research is based on qualitative studies, founded on readings and reflections. It allows one to check conceptual difficulties, applicability and processes associated with the theory of colors. Thus it aims to contribute to the process of creation and therefore the development of the fashion product. We take three collections from that designer as case studies, for he was known for peculiar chromatic compositions in his creations and also hailed as the couturier de la couleur, visiting its processes and the implementation of a broad and diverse chromatic survey in his creations.

Designing green infrastructure in cities requires vegetation that has multiple outcomes and functions, particularly using plants that have both attractive visual or aesthetic features and high biodiversity values. Plantings that have high visual appeal are more highly valued by people and increase their feeling of wellbeing. Increasing biodiversity in cities is one of the major challenges facing urban planning and design. However, balancing biodiversity and aesthetic outcomes in urban planting design is complex, and to date there are few methods that can be used to guide plant selection. To address this knowledge gap, we investigated the use of a colour theory framework for planting arrangements to see if we could design vegetation that is highly aesthetic and has high biodiversity. We did this by configuring planting combinations for living walls in Malmö, Sweden, using principles based on Johannes Itten’s colour theories. The plant combinations on each wall were graphically arranged using (1) colour analysis of each plant and (2) design of the plant species into two colour schemes: light-dark colour concept and a complementary colour concept. For each species used in the compositions we created a biodiversity classification, based on its pollination value, “nativeness” and conservation value as a cultivar; and a plant visual quality classification, based on the performance from living walls studies. The graphical colour composition and interlinked biodiversity value were then compared to designs created with randomly selected plant species. The results showed that it is possible to design a living wall based on colour theory without compromising with biodiversity outcomes, namely species richness, pollination and the nativeness of the species. The results also indicate the potential application of this design approach to deliver greater aesthetic appreciation and enjoyment from plantings. While more work is needed, this study has shown that a theoretical colour framework can be a useful tool in designing green infrastructure to improve delivery of both cultural and regulatory ecosystem services.

"This research study aims to examine the current pedagogical approach to color theory for visual art students at local tertiary art institutions. The study was initiated because of my observation that current training at most art institutions locally and internationally was not aligned with industrial practice. A scan of the literature revealed that current industry practice adopts a three dimensional and asymmetrical system developed by Professor Albert Munsell – the Munsell Color System (1912). Local tertiary art institutions utilize and adopt the Itten Color System, a two-dimensional color wheel developed by Professor Johannes Itten at the Bauhaus (Itten, 1970), the school that represents the most rigorous development of abstract art concepts. Color theory was one of the main topics at Bauhaus during the late 19th and early 20th centuries. The theory was brought to the United States by Professor Itten’s student, Josef Albers. Major art institutions, like the art school at Massachusetts Institute of Technology (Dourmashkin, 2005) and the California State University at Northridge (CSU-Northridge, 2015), have utilized the Itten Color System till today. Similarly, local art institutions refer to the Itten Color System. The research gap identified speaks to the difference between industrial practice and pedagogical approach in tertiary settings, examining the issues surrounding color theory training and its possible alignment with current industrial needs. The research was carried out using qualitative interviews of artists working in various visual art fields and art educators. Graduate students who have experience with both color systems were also interviewed. The results gathered informed the subsequent construction of two workshops conducted with tertiary students, one focused on the Itten Color System while the other on the Munsell Color System. A quantitative survey was then utilized as pre- and post-tests for the two workshops to gather students’ test scores in color theory and self-report measures of adaptive dispositions (flow, grit and commitment). Participating students were also invited for qualitative interviews. The analysis of both the qualitative and quantitative components speak to the possible development of a new pedagogical approach that could have the advantage of both models."

Cultural association analysis of color is an approach to know color from the side of culture. Unlike the previous color studies which see the color from the aspect of psychology, this research of color aims to provide insight based on the colors from local culture. Johannes Itten’s theory of color was used as a basis of thought in this research. The theory was reflected to Indonesian cultures, and this time, represented by Java island. Research used qualitative method by literature study, interviewing the color experts, historians and artists, visiting cultural centers. Results of the research are in the form of morphological matrix cultural over color. Matrix of analysis resulted in argument and study proposal. Students implemented the color schemes from 5 big cities in Java. They were asked to change the color composition of food and beverage packaging. Students may use, explore, and maximize the principle of color in visual communication to achieve contrast and balance.

Analysis cultural association of color is an approach to know color from cultural side. Unlike previous studies about color, which see the color from the aspect of psychology, then this color research’s aimed to provide insight local colors based on culture. Johannes Itten’s theory of color is used as the basis theory in this research. The theory will be reflected into the cultures of Indonesia, and in this research represented by Sumatera Island. The scope of cultural colors that will be examined is textile product of traditional clothes, bride, apparel and culinary, because these products are the most closely reflection of a culture in a society where the society defines the identity of its own. This research of a qualitative method covers collecting data of study literature, interviewing the color experts, historians and artists, visiting cultural centers especially that associated with textil and culinary product. The result will be formed of morphological matrix cultural over color. Matrix of analysis will be held in arquement and proposal study, where students can use, cultivate, and maximize method of color in visual communication to achieve the contrast and balance.

Mark Rothko, who was greatly influenced by Freud, Jung, and Nietzsche, painted in the wake of the horrors of the Second World War, and his paintings can be thought of as remnants of an underworld journey for both the individual and collective psyche. From Nietzsche’s influence, Rothko’s mature works were characterized by a contemplation of deep depth and stillness. Created by layering thin washes of paint color onto the canvas, these paintings can be thought of as hologlyphs, or images embodying the symbolic union of the opposites, known as the German Liebestod, or “love death,” implicit in the alchemical opus. This “love-death” represents the unconscious desire human beings have to unite with the Divine (an integration of the Apollonian and Dionysian elements of consciousness). Rothko’s paintings contain aspects of both light and dark, while his use of red symbolizes an alchemical rubedo (rebirth). Rothko was influenced by Johannes Itten, who sought to develop a comprehensive aesthetic theory of color that originated in the experience and intuition of the painter, was deeply inspired by Eastern traditions, where light reveals to us the spirit and living soul of the world through colors, which are forces that express the subtle layering of energy that takes shape as matter and form. An exploration of alchemical and mythological theories of color reveals these subtle forces inherent in Rothko’s work.

This chapter begins with an analysis of crayons as a metaphor for social class before examining the typical classroom demonstration of color mixing as a primary source of student misunderstanding. To uncover why red and yellow make orange but red and blue make a rather unattractive brown, this chapter explores the history of color theory beginning with the ancient world. The story of color involves the materiality of paints and pigments as well as philosophy and metaphysics, leading eventually to Newton’s musically inspired invention of orange and indigo. To understand how this story impacts the art room, this chapter traces Goethe’s rejection of Newtonian color theory and his insistence on physiological effects to the influential and equally flawed color theory of Johannes Itten. To help visual art move past the eighteenth century, this chapter promotes the usage of the cyan-magenta-yellow color system and describes its implications on color schemes and esthetic judgments within the current system. In addition to advocating a more-accurate color model, this chapter details facts and practices about color that will allow students to maximize the number of colors that students can reliably mix with the minimum amount of fuss and expense.

The first step in communicating color is to name it. The second step is color semiotics. The third step is introducing structure in the set of colors. In color education at all levels, this structure often takes the form of formulae, like red + green = yellow, or turquoise + red = black. In recent times, Johannes Itten's color theory and its associated color wheel have been very influential, mostly through its impact on Bauhaus, although a number of color order systems and circles have been introduced over the centuries. Students get confused when they are trying to formulate the color name arithmetic using the structure of color order systems and concepts like complementary colors and opponent colors. Suddenly turquoise + fuchsia = purple instead of blue; purple and violet become blurred, and finally the student's head explodes under the epistemological pressures of Itten, Albers, Goethe, Runge, Newton, da Vinci, and all the other monsters of color structure. In this contribution we propose a systematic presentation of structure in color, from color theories to color naming. We start from the concept of color perception introduced by da Vinci and work ourselves through color measurement, color formation, and color naming, to develop the basis for a robust system based on table lookup and interpolation. One source of confusion is that color naming has been quite loose in color theory, where for example red can be used interchangeably with fuchsia, and blue with turquoise. Furthermore, common color terms are intermingled with technical colorant terms, for example cyan and aqua or fuchsia and magenta. We present the evolution of a few color terms, some of which have experienced a radical transition over the centuries, and describe an experiment showing the robustness of crowd-sourcing for color naming.

RESUMO O presente artigo tem por objetivo propor estratégias didáticas direcionadas aos objetos de aprendizagem (OAs), para o ensino da teoria da cor, em ambientes virtuais, na formação superior a distância. Para consecução do trabalho foram considerados os conteúdos da teoria da cor: evolução das teorias históricas, sínteses cromáticas, psicologia da cor, disco de cores de Johannes Itten e o disco corrigido, dimensões, escalas, paletas, c­ontrastes e harmonias. Foram investigadas para definição das melhores estratégias, metodologias presenciais do ensino da teoria da cor, objetos de aprendizagem em ambientes virtuais focados na área em questão, instrumentos de avaliação, pesquisas de opinião com o público interessado e os principais autores e publicações dos conteúdos abordados. A combinação destes estudos deu origem as propostas de objetos de aprendizagem apresentadas neste artigo. A futura construção destas propostas e sua efetiva aplicação no ensino superior garante uma abrangência de assimilação, ressignificação e troca de conhecimentos em ambientes virtuais de aprendizagem. Palavras-chave: Objetos de aprendizagem. Ensino a distância. Teoria da cor. ABSTRACT The purpose of this paper is to propose didactic strategies directed to learning objects (LOs) for the teaching of the color theory in virtual environments in distance higher education. For achieving the work the content of the color theory it was considered: the evolution of historical theories, chromatic syntheses, the psychology of color, Johannes Itten’s color wheel and the corrected wheel, dimensions, scales, palettes, contrast and harmony. In order to define the best strategies, in-person methodologies for the teaching of the color theory, learning objects in learning management systems focused in the area in question, assessment tools, and opinion surveys with the interested audience and the main authors and publications of contents were investigated. The combination of these studies gave rise to the proposals of learning objects presented in this article. The future construction of these proposals and their effective application in higher education ensures a breadth of assimilation, re-signification and knowledge exchange in learning management systems. Key words: Learning objects. Distance Education. Color theory. RESUMEN Este artículo tiene el objetivo de proponer estrategias didácticas dirigidas a los objetos de aprendizaje (OAs), para la enseñanza de la teoría del color, en los entornos virtuales, en la educación superior a distancia. Para consecución del trabajo se examinaron los contenidos de la teoría del color: evolución de las teorías históricas, resúmenes cromáticos, psicología del color, disco de colores de Johannes Itten y el disco corregido, dimensiones, escalas, paletas, contraste y armonías. Fueron investigados para la definición de las mejores estrategias, metodologías presenciales de la enseñanza de la teoría del color, los objetos de aprendizaje en entornos virtuales se centró en la zona en cuestión, instrumentos de evaluación, en encuestas de opinión con el público interesado y los principales autores y publicaciones de los contenidos abordados. La combinación de estos estudios originaron las propuestas de objetos de aprendizaje presentados en este artículo. La futura construcción de estas propuestas y su aplicación efectiva en el ámbito de la enseñanza superior garantiza una amplitud de asimilación, re-significación, y el intercambio de conocimientos en entornos virtuales de aprendizaje. Palabras-clave: Objetos de aprendizaje. Enseñanza a distancia. Teoría del color.

There is a very long tradition in designing color palettes for various applications, going back to at least the Upanishad. Although color palettes have been influenced by the available colorants, starting with the advent of aniline dyes in the late 1850s there have been few physical limits on the choice of individual colors. This abundance of choices exacerbates the problem of limiting the number of colors in a palette, i.e., in keeping them into a manageable quantity. For example, it is not practical for a car company to offer each model in hundreds of colors. Instead, for each model year a small number of color palettes is offered, each containing the colors for the body, trim, interior, etc. Another example is the fashion industry, where in addition to solid colors there are also patterns, leading to a huge variety of combinations that would be impossible to stock. The traditional solution is that of "color forecasting." Color consultants assess the sentiment or affective state of a target customer class and compare it with new colorants offered by the industry. They assemble a limited color palette, name the colors according to the sentiment, and publish their result. Textile manufacturers will produce fabrics in these colors and fashion designers will design clothes, accessories, and furniture based on these fabrics. Eventually, the media will communicate these forecasts to the consumers, who will be admired by their cohorts when they choose colors from the forecast palette, which by then is widely diffused. The color forecasting business is very labor intensive and difficult, thus for years computer engineers have tried to come up with algorithms to design harmonious color palettes, alas with little commercial success. For example, Johannes Itten's color theory has been implemented many times, but despite Itten's success in the Bauhaus artifacts, the computer tools have been of little utility. Indeed, contrary to the auditory sense, there is no known physiological mechanism sustaining harmony and the term "harmonious" just has the informal meaning of "going well together." We argue that the intellectual flaw resides in the belief that a masterful individual can devise a "perfect methodology" that the engineer can then reduce to practice in a computer program. We suggest that the correct approach is to consider color forecasting as an act of distillation, where a palette is digested from the sentiment of a very large number of people. We describe how this approach can be reduced to an algorithm by replacing the subjective process with a data analytic process.

We integrate and extend insights from just world theory (Lerner, 1980), appraisal and attribution theories of emotion (e.g. Scherer, Schorr, & Johnstone, 2001; Weiner, 1995), and the sacred value protection model (Tetlock, Kirstel, Elson, Green, & Lerner, 2000) to explain observers' emotional and behavioural responses to incidents of so-called ‘senseless’ violence. The presence or absence of an opportunity to blame a victim for his or her violent fate resulted in stronger perceptions of ‘senselessness’ of the violence, stronger identification with the victim's suffering (i.e. person identification) and stronger identification with his or her violent fate (i.e. position identification). The presence or absence of an opportunity to blame the victim also influenced observers' feelings of anger and pity, and their willingness to protest and help. Importantly, both types of identification helped explain these emotional and behavioural responses. The results of this experiment suggest dual motivations for how observers come to feel and care for victims of ‘senseless’ violence. Copyright © 2005 John Wiley & Sons, Ltd.

Art expresses the mind, while science reveals its physical manifestation. Art and science are companions on the same path- For both, the pursuit of truth is the ultimate goal. Art is the goddess of beauty and science is the god of the sublime. One embodies emotion and sensitivity, while the other embodies rationality. Humans not only create images through imagination and find solutions through logic but imagination also leads to inventions and logic gives rise to principles of creation. Although art and science are distinct fields, they are so intertwined that the existence of one without the other is difficult. In the creative process of art, when observation, understanding, and imagination culminate in giving form to a creation, an understanding of the technical aspects of the medium becomes absolutely essential. This craftsmanship is science. The colors of painting, the meter of poetry the grammar of literature—all are aspects of science that adorn a creation with beauty. Every work of art has two aspects: its emotional aspect and its technical aspect- When we talk about art, we are usually referring to the emotional aspect, although this is its primary function- Art serves to express human emotions, but without the technical aspect] these emotions cannot be expressed effectively. Mere sentimentality alone does not lead to achievement unless it is accompanied by skillful execution.This is where science plays its role. There are many techniques in art that are considered scientifically sound- In painting, for example, principles such as perspective, dimension theory, the Loomis method, color theory, the golden ratio, the Vitruvian man, and chiaroscuro etc have made art education simpler and more accessible- In the Indian context scientific principles like the Shadanga (six limbs of painting), Rasa theory, and iconography have created wonderful expressions of abstract subjects like religion and spirituality. Art uses the logic of science to create, while science uses the imagination of art to explore truth.

This work explores the relationship between color, cultural identity, and architecture in Uzbekistan, with an emphasis on traditional textile patterns of ikat and their influence on modern architectural design. The research aims to identify the emotional and aesthetic aspects of color as a design tool and its historical significance in Uzbek culture. The research begins with an analysis of the role of color in shaping the mentality of the Uzbek people and its reflection on architectural solutions. It examines how the color palette affects the perception of space and creates an atmosphere that emphasizes cultural values. The next section is devoted to the ikat technique, its historical significance and aesthetic features, as well as how it integrates into modern design. The article explores how color theory is used by designers to create harmonious and functional spaces, as well as how the emotional aspects of color affect the perception of the Uzbek interior. The work concludes with an analysis of current trends in architecture in Uzbekistan, showing how traditions and modern approaches can coexist, creating a unique cultural heritage.

Background:Traumatic injuries are common dental problems in pediatric dentistry that may influence the children's quality of life.Aim:the aim of this study is to assess the impact of traumatic dental injuries (TDI) and oral health-related quality of life (OHRQoL) among Egyptian schoolchildren aged 11–14 years.Materials and Methods:A cross-sectional study was carried out involving a sample of 11700 schoolchildren from public and private schools of Mansoura city, Egypt. OHRQoL was assessed using Child Perceptions Questionnaire. Clinical examination included the presence and type of TDI, malocclusion status, and dental caries in anterior teeth (decayed, missing, and filled teeth).Results:The prevalence of TDI was 13.6%. Untreated TDI was more likely to have a negative impact on the children's daily living regarding pain, functional, emotional, and social aspect than treated injuries and control children. Pearson's correlation test indicated significant association between trauma and malocclusion and dental caries.Conclusion:Untreated dental injury has a negative impact on quality of life regarding social, functional, and emotional aspects. However, treated injured teeth appear to improve social and emotional aspects of the OHRQoL of school children, whereas functional limitations may continue because of the pulpal and periodontal effects of the injury.

Influence of anxiety and depression symptoms on the quality of life in patients undergoing lumbar spine surgery