Color Harmony Research Articles

ЦВЕТ КАК ВАЖНЕЙШЕЕ СРЕДСТВО ПРЕОДОЛЕНИЯ ПАРАДИГМАЛЬНЫХ ИЗМЕРЕНИЙ В ОБЩЕНИИ ДИЗАЙНЕРА И ПОТРЕБИТЕЛЯ

В статье рассматриваются принципы гармонизации цветов и закономерности их комбинаций в аспекте экологического подхода в дизайне среды. Экологический подход к проектированию представляет собой определенный срез мыслей и образ действий, задающий ориентацию проектной деятельности.
 Экологический и художественно-образные аспекты, используемые с целью обогащения возможностей дизайнерского творчества, являются важнейшими компонентами синтетического проектного мышления. Создание специальных эвристических методов проектирования на основе раскрытия синтетического характера проектного мышления позволяет использование природной экосистемы для создания целостности объекта дизайна. Популярность данного метода при проектировании достигается многими факторами, с его помощью воссоздается природная, гармоничная среда, которая включает признаки и закономерности цветовых гармоний на основе различных природных биосистем и их воздействие на эмоциональное состояние человека в общественном интерьере. Современный интерес к цвету почти целиком носит визуально-материальный характер и игнорирует смысловые и духовные переживания. Проектируя общественные пространства нужно учитывать, что дизайн опирается на научное знание, находясь на перекрестке многих дисциплин, он приобщает к ним всех, кто следует его законам и проектирует, соотнося с ними результаты своей деятельности. Экологический подход к проектированию, основанный на когнетивном процессе осмысления природной формы, демонстрирует преодоление парадигмальных измерений при создании дизайна интерьера.
 Когнитивное отношение к природной среде формирует способность человека преобразовывать мир по законам красоты, целесообразности и не отрываться от природных корней, чутко относиться к среде обитания, являться ее неотъемлемой частью. При этом имеется в виду, что указанные установки не отрываются от задач креативных поисков современных инновационных решений. В этом реализуется неисчерпаемый творческий потенциал гармонизирующей проектной деятельности. Проектирование становится экспрессивной, коммуникативной формой истолкования окружающего мира и общества, его ментальной, сенсорной и духовной деятельности.
 Ключевые слова: дизайн интерьера, цветовые отношения, парадигма, проектирование интерьера кафе.

Effect of area on color harmony in simulated interiors

AbstractThe main aim of this study is to examine the effect of area on color harmony in simulated interior spaces. The secondary aim of the study is to investigate how the term color harmony is defined and the link between color harmony and related terms used to define it. These terms can explain why a color scheme is evaluated as harmonious. Four sets of three‐color combinations created by using the hues red, blue, yellow, green, purple, and orange were studied in a simulated office interior emphasizing different proportional use of each color. Firstly, participants evaluated harmony content of the images. Secondly, they evaluated each image regarding the terms related to color harmony. Findings indicated that area had an effect on color harmony for two of the color combinations (warm & cool). However, there were no strong but rather moderate and weak correlations between color harmony and the terms.

Формирование колористики северных городов

Условия формирования жилой застройки в северных горо­дах достаточно специфичны. На их территории имеется значи­тельное количество зданий, построенных по типовым проектам, которые не учитывают негативных природно-климатических факторов северных территорий. Для таких городов необходимо создавать особые условия окружающей архитектурной среды, в том числе разрабатывать особенные цветовые решения. Роль цвета в жизни человека и в восприятии им пространства до­статочно велика, поэтому цветовые решения, используемые в архитектуре, имеют существенное значение. В работе на при­мере Архангельска проведён анализ факторов колористики, оказывающих влияние на цветовую среду северного города, а также выявлена необходимость комплексного подхода к учёту факторов колористики при формировании цветовых решений зданий. Для исследования была выбрана натуральная система цвета NCS (Natural Color System) как наиболее распространен­ная среди архитекторов и дизайнеров и более естественная для восприятия её человеком. В ходе проведённого исследования установлены наиболее благоприятные цветовые решения при оформлении фасадов зданий в условиях городской конгло­мерации северных территорий. Внедрение разработанных колористических решений для Архангельска целесообразно для обособленного района города, на территории которого ведётся активная застройка. Сделан вывод о необходимости корректировки цветовых решений ограждающих конструкций фасадов существующих зданий. Предложенные варианты формирования и корректировки цветовой среды северного города на примере Архангельска способствуют наиболее гармоничному цветовому оформлению города, улучшают окружающую среду в целом, что положительно сказывается на психологическом состоянии горожан.

Measures and numbers for colors. The color system of Wilhelm Ostwald

Chemists are masters of colors, be it their synthesis or the analysis of natural dyes and pigments. Therefore, it is mandatory that chemistry students acquire some basic knowledge of color theories. The contemporaries of Wilhelm Ostwald (1853–1932), Nobel Laureate for Chemistry in 1909, repeatedly refused to accept and often even acidly opposed his new and unconventional ideas. This also happened in response to his color doctrine, which he regarded as his opus magnum. The accepted color theory of his times was based on the concept of the trichromatic color vision of Thomas Young (1773–1829) and Hermann von Helmholtz (1821–1894). Contrary to this theory, Ostwald emphasized the psychological issues of color perception. He introduced new terms and variables of colors, developed pragmatic ways to measure colors and assembled them in a ‘color solid’ (a three-dimensional frame of colors). Many physicists disagreed with his ideas, since they regarded Helmholtz’s theory as sufficient and Ostwald’s as superfluous. Then, when Ostwald derived color harmony from his color order, he also had many artists as enemies. Indeed, Ostwald’s color theory is not without flaws. However, he had mainly in mind the applications of colors in arts, design and industry. With that focus, another understanding results, as Ostwald’s color doctrine provides a theory of body colors that is relatively simple, descriptive, practical and fruitful for further development.

The impact of signboard‐building color combinations on color harmony and legibility

AbstractThe aim of this study was to investigate the impact of signboard‐building color combinations on color harmony and legibility. Two hundred and three participants rated 54 signboard‐building color combinations against two scales of color harmony and legibility. In this article, the terms “brick,” “stone,” and “glass” refer to three types of building exteriors used in the experiment (ie, brick masonry, greystone, and curtain walls, respectively). Major findings are as follows: (a) there was a positive linear correlation between color harmony and legibility in all three types of building exteriors, (b) the type of building exterior affected the color harmony and legibility of signboard colors, (c) no hue‐related patterns were observed, (d) the effects of chroma differences on color harmony were weak and the effects of chroma differences on legibility were moderate, (e) the effects of lightness differences on color harmony and legibility were strong in brick, but the effects of lightness differences were weak in stone and glass, (f) white color combinations (ie, color pairs including white signboards) turned out to be the most harmonious and legible, and (g) color combinations of light signboards and dark buildings (negative polarity) were rated most harmonious and legible, with the exception of vivid red (positive polarity). The findings of this study provide insight into the characteristics of harmonious and legible colors in the context of signboard design.

RETRACTED ARTICLE: A study on harmonious chromatic number of total graph of central graph of generalized Petersen graph

For a given graph $$G$$ , $$\chi_{h} \left( G \right)$$ is the least integer of colors such that no two adjacent nodes receive the same color and each combination of color seems together on at most one line. The least number of compartments into which a warehouse should be partitioned to store chemicals certain pairs of which are incompatible is again the chromatic number of the conflict graph. In this article we have found the harmonious coloring of central graph of generalized Petersen graph and have characterized the harmonious chromatic number with the maximum matching number and further we have found the total graph of central graph of generalized Petersen graph using the clique. Clique is a complete graph where every vertex is adjacent to every other. In computational biology we use cliques as a technique of abstracting pair wise relationships consisting of protein–protein interaction or gene similarity. In the latter case we would need to set up a side among the vertices representing two genes if the ones genes have say comparable expression profiles over several time factors of an experiments to study the health care information of patients.

Vermilion, or why Cézanne took the shine off things

This article argues that, in the early 1870s, Paul Cézanne began to make colours (including vermilion) his medium, whereas previously he had tended to treat them as inert materials, which he needed to force for effect. One factor in Cézanne’s change of heart was his receptiveness to the theme developed in the novels Manette Salomon (1867), by Edmond and Jules de Goncourt, and La Proie et l’ombre (1876), by Marius Roux, that failing to relate responsively to his medium can have catastrophic consequences for the painter. Another was Cézanne’s espousal of Camille Pissarro’s practice in the early 1870s of using ton to create ‘harmony’ for the express purpose of ‘modelling’. The relationship between Cézanne’s ideas about ton and three theoretical sources are then examined. Two are much earlier: Roger de Piles’s writings about colour harmony and its spatial effects; and the treatise Michel-François Dandré-Bardon wrote in the eighteenth century that applied de Piles’s ideas to ton. The other is the series of manuals the animal painter, Julien de la Rochenoire, published in the 1850s, which maintain that ‘relations’ between tons were crucial to ‘modelling’. How Cézanne used tons is then analysed in the painting Madame Cézanne in a Red Armchair (1877) (now in Boston). It is shown that colour relationships are more numerous and more finely integrated in this work than in its sister painting (in Stockholm), with the result that its harmony is especially tightly knit. This, it is maintained, allows it to model-shape at the same time as bestowing cohesion to the depicted scene. The article ends by considering how, unlike the de Goncourts’ Naz Coriolis or Claude Monet, who pushed painting to its limits in an attempt to capture the effects of shine and sparkle, Cézanne opted to play them down in order to give solidity to the world depicted in his paintings.

Особливості розвитку сучасного мистецтва і кінематографу у Китаї, Кореї та Японії

The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.

A Study on the Evaluation Characteristics of Personal Color Diagnosis and Results: for Job preparation student

This study conducted a personal color study for individual job-seekers through personal color diagnosis of interview dress. This study conducted a theoretical review of the concept, contents and process of personal color diagnosis for the job-seekers of the youth class in the first stage, and in the personal color diagnosis, personal color was derived through color palette based on skin color by PCS, color scheme was presented through the four-season color scheme palette, and then applied to inner items and jacket items, which are interview clothes.,In addition, the second part of the study conducted a survey and statistical study on the process contents and satisfaction of personal colors, and presented characteristics through detailed analysis of the process. In the inner item color, the harmony of colors applied with the color arrangement attributes by the contrast principle and complementary color principle appeared. When the result of personal color diagnosis of the subject was summarized by season type, the harmony by the two color arrangement of inner and jacket colors was the most, and the middle, low brightness and middle and high chroma were analyzed based on the navy color.

Quantitative Analysis of Color Harmony for an Aesthetic Village based on Building Information Modeling(BIM)

Quantitative Analysis of Color Harmony for an Aesthetic Village based on Building Information Modeling(BIM)

Studying features of contemporary painting in the professional training of the future teacher as a pedagogical problem

The article deals with the problems of studying modern painting as a basic academic discipline in the modern system of artistic and pedagogical training of future teachers of the visual arts. The study of painting provides for the formation of artistic excellence in students on the basis of visual literacy, practical skills in working with color, and the ability to organize a harmonious color scheme.Teaching the basics of painting is built on the study of the techniques and means of composite construction on the plane of the pictorial form, the transfer of its proportions, volume, textural and spatial qualities. The implementation of educational tasks in painting requires the inclusion of students to productive educational, creative and artistic activities, stimulates creative thinking, motivation for self-improvement and self-development.The basis of study of warehouse painting is practical, the process of which students have the necessary professional skills and knowledge, to develop the intellectual and logical mission, become an active process of aesthetic drawing.The picking up a picture for students of pedagogical mortgages at the knowledge of students with theoretical studies about the main aspects of the genre of painting, straightforward storyboard development, materials and tools.The main component of the complex of forms and methods is to achieve the success of the professional and individual self-development of the future teachers of the creative-learning, self-designed robot of students. The target – form of self-sustainability, activate of creative activity, love of creativity, development of creativity, mastery of different technical and material materials, satisfactory training and security.An important condition for students to achieve a high level of professional mastery in painting is adherence to the basic didactic principles of teaching, the formation of subject competences in drawing, composition, color science, an individual approach to the artistic and educational activities of each student.

Harmonious Coloring for Subdivision of Certain Classes of Graph

For any graph G, χ_h (G) is the extremely small number of colors used in a graph such that no two nearby vertices gets a similar color and every mix of color appears to be together on atmost one edge. In this article we have decided the harmonious chromatic number of subdivision of certain groups of graphs.

Research on color harmony of building façades

AbstractIn this study, the 28 primary colors and 11 complementary colors suggested by Chang et al in their investigation on building colors in Wanhua District of Taipei City were taken as color samples. The two‐color combination mode was adopted to obtain 308 simulation photos, and two‐color harmony was discussed from the perspective of visual evaluation using psychophysical tests. This study explored building façade color harmony in the CIELAB color space, and the relationship between the color attributes (hue, lightness, and chroma) and the color harmony, and between the differences of the color attributes and color harmony. It found that a high lightness of a building's primary color is associated with a high level of building color harmony, while the color harmony is reduced when the color falls in the green or blue sector in the CIELAB color space; a greater lightness difference between building façade colors is associated with a higher level of building color harmony, while the colors are disharmonized when they tend to the blue sector in the CIELAB color space. The contribution of this study is to summarize the principles for the application of building color harmony in urban renewal, and proposed suggestions on building color harmony in the urban renewal process.

Resolution of a fluorosis case through the association of minimally invasive techniques

Color changes may interfere with smile balance and they represent a clinical challenge to dentists. Dental fluorosis originates from intrinsic factors and it is a disorder of enamel formation during the phase of teeth development, resulting in the change of enamel color. This clinical case report aimed to present the resolution of a case of dental fluorosis through the association of minimally invasive techniques, namely microabrasion and tooth bleaching. A 27-year-old male patient sought the dental clinic of the School of Dentistry of Piracicaba (FOP - UNICAMP, Brazil) presenting striped and symmetrical white stains and generalized chromogenic biofilm. After anamnesis and clinical examination, the patient was diagnosed with fluorosis stains. Initially, adequacy of the oral environment was performed with prophylaxis and supragingival scraping. Then, the enamel microabrasion technique was performed with 6% hydrochloric acid associated with silicon carbide (Whiteness RM - FGM) and supervised at-home bleaching was performed with 16% carbamide peroxide (Whiteness Simple 16% - FGM). In conclusion, the treatment performed reestablished the aesthetics and harmony of smile color with minimally invasive procedures without causing tooth sensitivity.

Research on color optimization of tricolor product considering color harmony and users' emotion

AbstractThere are few studies on the tricolor design optimization, and the influence of color‐area ratio on users' emotion has been ignored. This article aims to achieve multiobjective optimization of tricolor product color design. Two modes of color‐area ratio are put forward. Using the proposed method of generating tricolor schemes, 368 tricolor schemes of the representative baby carriage are designed. Through questionnaire survey, color images are screened, and combined with correlation analysis and factor analysis, five perceptual features of color design are determined as “Order,” “Excitement,” “Temperature,” “Color harmony,” and “Users' emotional preference.” From two perspectives of color information processing, radial basis function neural networks are used to construct two emotional evaluation models. By integrating the radial basis function neural networks and a genetic algorithm, this study achieves multiobjective optimization of tricolor product color design for two optimization objectives of color harmony and users' emotional preference. Verification results show that the optimization schemes are significantly better than other schemes. Due to similar product characteristics, children's electric car is utilized to verify the generalization capability of the optimization method proposed in this article. It has been demonstrated that the optimization schemes achieve higher scores than randomly selected color schemes and the actual subjective scores match with the predicted scores computed by the color optimization method.

Колористика как фактор эстетического переживания

The article describes the importance of coloristics. Color is an integral part that forms a complete image of the world. It can unite urban ensembles, to bear the emotional and aesthetic burden. Color fills the world with expressiveness. The various functions of light in a person's life help to reveal the concepts of a color phenomenon, which contains a mixture of colors, the theory of color harmonies, manifested in the spiritual and material qualities of being. The color phenomenon is association formed in the consciousness. An important aspect in the formation of architectural space is the color of the object-spatial environment. This is a system that includes the color environment of natural objects and the human made architecture. Creative experience and scientific research in the field of color solutions are used for the successful design of the subject-spatial environment. In architecture, color is manifested in terms of aesthetic and psychological approaches. Any activity to create color solutions of the architectural space aims to meet the aesthetic requirements. In addition, coloristics must consider the function of objects, their design and features of the object concept in order to solve a wide range of issues.

Investigating the Position of Color in the Urban Townscape (Case Study: Mashhad, Imam Reza Street)

Nowadays, we observe our cities turbulent and unorganized in respect to color. Inconsistent locating of the buildings along with each other, the use of inhomogeneous colors, and the lack of attention to the psychological properties of colors have created the spaces in cities that are not compatible with the spirit of human and we do not feel relaxation in them any longer. This article is an attempt to express the importance of color theme and how to handle and use it in the city. Imam Reza Street has taken a kind of visual contamination in urban townscape due to the lack of appropriate color harmony. Color inconsistency and heterogeneity in the street walls of this street has created turmoil in the urban townscape; by using appropriate color in the street townscape it can be made a coordinated and rhythmic view, and a general unity and solidarity can be created in the city and make a favorable, appropriate, and more lively townscape of the city. The research method in this article is descriptive-analytical and data collection is in the form of a library-field method. To select a field, a part of Imam Reza Street (between 15th Khordad Square to Basij Square) was selected and extracting colored layers of street was performed through the RGB system by the aid of Photoshop software; then by using the Kil Hong’s Matrix, the elements composing the color in the street were analyzed, and the criteria and solutions were presented for planning in respect of the correct use of color in the urban townscape; finally, some plans were locally performed on several samples of the images taken from the street to illustrate the desired plan.

A Performance on Harmonious Coloring of Barbell Graph

Given simple graph 𝑮, a harmonious chromatic number 𝝌𝒉(𝑮) is the minimum number of colors used in a graph such that no two adjacent vertices receives the same color and each combination of color seems together on atmost one edge. In this article we have determined the harmonious chromatic number of barbell and central graph of barbell graph.Over all we have given an algorithm to calculate the harmonious chromatic number of Barbell graph by depicting a quadratic time.

A Color‐Pair Based Approach for Accurate Color Harmony Estimation

AbstractHarmonious color combinations can stimulate positive user emotional responses. However, a widely open research question is: how can we establish a robust and accurate color harmony measure for the public and professional designers to identify the harmony level of a color theme or color set. Building upon the key discovery that color pairs play an important role in harmony estimation, in this paper we present a novel color‐pair based estimation model to accurately measure the color harmony. It first takes a two‐layer maximum likelihood estimation (MLE) based method to compute an initial prediction of color harmony by statistically modeling the pair‐wise color preferences from existing datasets. Then, the initial scores are refined through a back‐propagation neural network (BPNN) with a variety of color features extracted in different color spaces, so that an accurate harmony estimation can be obtained at the end. Our extensive experiments, including performance comparisons of harmony estimation applications, show the advantages of our method in comparison with the state of the art methods.

Analysis on Renoirʼs Rainbow Palette and the Natural Light: Focusing on the Principle of Michel Eugene Chevreul

회화에서 색채는 양식에 대한 시대적 요구에 따라 새로운 방향성을 제시하면서 오늘날의 감각에 도달했다. 이 가운데 외광파 인상주의자들은 당대의 과학적 성과인 색채에 대한 이론적 발전의 영향을 받아 그들이 추구하는 빛에 대한 새로운 표현을 모색하게 되었다. 이 연구에서 다루고 있는 르누아르는 자연주의 철학적 관점에서 빛과 색채, 그리고 인물을 중심으로 하는 대표적인 근대 화가로, 초기 로코코 회화의 주제적 측면과 외광파 인상주의자의 작업 태도를 생애 전반에 걸쳐 탐구하였다. 르누아르 작품의 특수성은 당대의 대부분의 외광파 화가들이 풍경을 중점적으로 작업한 것과 비교 할 때, 고전적 소재라고 할 수 있는 인체를 통해 자연광의 색채를 그리고자 한 것에 있다. 이에 따라 본문에서는 슈브뢸의 색채조화론을 적용하여 르누아르의 레인보우 팔레트의 색채분석을 시도한다. 이것은 르누아르가 자연광에서 찾아낸 색채의 종류 및 명도와 채도 등 대비효과를 통해 방법론적 특수성을 밝히는데 유용한 도구로서 중요성을 가진다.The colour in paintings reached today’s zeitgeist to representing new directions with newer demands with style. Among the art history, pleinairisme Impressionists was constantly in search of the techniques for drawing natural light under the influence of modern science. They mainly deal with Renoir is one of the representative pleinairisme and he had explored light, colour and portrait on the naturalism philosophy all over his life. The distinctiveness of Renoir’s paintings is expression of portrait with natural light and it seems like close to traditional way compare to other pleinairisme. For this reason, this paper attempts to the analysis of Renoir’s rainbow palette applying to Chevreul’s the principles of harmony and contrast of colours, it is important theory to deriving the characteristic of luminosity and hue contrast in Renoir’s paintings.