DOCSLIB.ORG

THE COLOR CONNECTION BOOK SERIES International Color Guide Tektronix Color Connection(SM) About Tektronix If You Can Dream It Up, We’Ve Got a Way to Get You There

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE COLOR CONNECTION BOOK SERIES International Color Guide Tektronix Color Connection(SM) About Tektronix If You Can Dream It Up, We’Ve Got a Way to Get You There THE COLOR CONNECTION BOOK SERIES International Color Guide Tektronix Color Connection(SM) About Tektronix If you can dream it up, we’ve got a way to get you there. For more than 15 Tektronix Color Connection(sm) is a comprehensive program designed to years, Tektronix has built the future of color printing, helping businesses move usher Tektronix color printer owners into the world of color. from black-and-white to cutting-edge color. Our successes were earned early, amidst the exacting needs of the graphic design and engineering communities. The Color Connection(sm) program provides valuable tools to make your doc- Our next-generation printers have expanded on those achievements, making uments more powerful. Whether you’re a color expert or just beginning, you’ll color printing easier and more affordable than ever before. And making find useful information customized for your own individual needs, including: Tektronix the standard for network color printing around the world. Exciting interactive tutorials — based on the Color Connection Book Series — Whether it’s solid ink or color laser, Tektronix color printers boast record-set- that teach you how to use Microsoft® Office™ software you’re already familiar ting speeds, reliable customer support, and award-winning color quality — with to design powerful, polished business reports, creative projects, and year after year. Simply put, color communicates. And Tektronix color makes everyday documents. sure people communicate more effectively, the world over. E-mail subscription — featuring helpful document design tips, templates, and To learn more about Tektronix color printer products, visit our website at support information to maximize your color printer's full potential. These e- www.tektronix.com/Color_Printers/. Or, in the U.S. and Canada, call us toll- mails will be tailored to your specific needs. free: 1-800-835-6100, Monday – Friday, 6:00 a.m. to 5:00 p.m. (PST). On-line — a searchable database of information on using color in popular soft- Tektronix Up Close ware applications. Important links to customer support pages and other Founded in 1946 important web sites. Headquartered in Oregon 8,630 employees worldwide How Do I Participate? Sales and support in more than 75 countries Visit www.colorconnection.tektronix.com and establish your personal link to $2.1 billion in sales the world of Tektronix color today! 2 THE COLOR CONNECTION BOOK SERIES International Color Guide 3 Overview ColorTool: Cross-Cultural Meanings of Color Colors mean different things in different cultures. In Western countries, black signifies death and is worn during times of mourning; but, in Egypt, it repre- ColorTool offers designers easy access to rich color sents rebirth. The color combination red and white has religious significance information, and gives them the ability to address in India, is associated with festivals in Japan, and implies national pride in cross-cultural color issues in an informed manner. Poland. ColorTool supports several different kinds of searches; specify a culture and a meaning to find Obviously, no businessperson could possibly understand the meaning of every out what color corresponds to that meaning. color in every culture. But poor color choices can make products, packaging, Design tips, case studies, and text search capabili- and advertising confusing or offensive. As companies continue to become ties allow a designer to quickly get the required more global, and products and messages cross national borders, it is important information. ColorTool is used by designers to familiarize yourself with the symbolism of color. around the world. For more information, visit www.colortool.com. At Tektronix, we want to help you use color accurately and effectively. That’s why we produced this International Color Guide, a must-have for any business with international interests. The International Color Guide delves into 18 cultures and provides an overview of the symbolism of color within them. It is based on the ambitious research of Surya Vanka, associate professor of art and design at the University of Illinois. Vanka is an expert on the international attributes of color and is the author of “ColorTool: Cross-Cultural Meanings of Color,” interactive multime- dia software that designers can use to inquire, specify, and evaluate color choices for products to be marketed internationally. For more information: Color Connection www.colortool.com. Tektronix, Inc. was honored to work with Professor Vanka, and we hope you find this guide useful as you explore the world of color. 4 ContentsTable of Britain . .6 Mexico . .24 China . .8 New Zealand . .26 Colombia . .10 Nigeria . .28 Egypt . .12 Peru . .30 Ethiopia . .14 South Africa . .32 India . .16 Tibet . .34 Iran . .18 Ukraine . .36 Japan . .20 United States . .38 Melanesia . .22 Zambia . .40 tesy of PhotoDisc, Inc. Photos cour 5 BriBrittainain ★ British color tradition is rooted in the country’s rich history and culture. The centerpiece of the British flag — called the Union Jack — is the red cross of St. George, who is the country’s patron saint. The royal blue and white cross symbolizes St. Andrew, the patron saint of Scotland. The Union Jack flag was created in 1600, when England and Scotland were united. 6 British royalty has always influenced color usage in Britain. ors that had long been available, and British buildings began to “Royal” colors, deeply saturated hues such as purples, blues, reds appear in an entire range of colors, from grays to reds, from yel- and greens, have found their way into all corners of British life, lows to blues and greens. even on buses and mailboxes. Dull colors, those worn by peasants As in most countries, the colors of the flag figure prominently: in ancient times, are still associated with commoners. Royal blue and red speak both of the monarchy and of Britain’s In China, purple is worn by In the 1950s, paint colors began to catch up with the dye col- democratic government. literary and educated figures. Orange represents love. In Stuart Britain, white was the color Death and burial are represented by Red is a male color in Britain. In In Tudor England, brides of high of death and burial; of an unmarried black; it is also associated with sad- Tudor Britain, flame red was for societal rank wore a gold dress. man or woman; or for a woman that ness and darkness. Servants and lovers, while dark red represented Perfect yellow is used to represent dies during birth. In Tudor Britain, domestic help traditionally wear those who were long in love. joy and honor, or it can stand for however, white stood for purity, faith, black in England, and superstitious Scarlet represents royalty and state jealousy and fading love. Gold has truth and sincerity. Today, brides Northumberland fisherman fear black. officials, and is said to have warm- royal associations through its use in wear white, and Yorkshire fishermen ing and cooling properties, so it is crowns, jewelry and other regalia. are superstitious about wearing it. used in sickrooms. Red is also the color of livery. Blue is the color of the Conservative Green can suggest wantonness or In Tudor Britain, violet was the color In Tudor Britain, peasants wore party, constancy, and, curiously, lasciv- fidelity in the wedding ceremony. The of mourning, as well as the color of browns and blacks because the dyes iousness. Blue also is the color of color can represent happiness, youth, religious fervor. Today, purple is used in more beautiful clothes were apprentices. A bright blue-green and charming ladies. Sea-green can another royal color. expensive. Brown can stand for represents high hopes. be suggestive of a deceitful nature. autumn or despair, and a reddish- brown speaks of steadfastness. tesy of PhotoDisc, Inc. Gray can suggest bareness, fraud, and poverty. Photos cour 7 China ★ The Chinese have a classic love of color and have used it abundantly throughout their cultural history. The flag of the People’s Republic of China incorporates a large gold star and four smaller stars placed in the canton. The large star represents the party, and the four smaller stars represent the four economic classes of the new state: workers, peasants, petty bourgeoisie, and “patriotic” capitalists. Red, the primary color of the flag, is also one of the most important col- ors in China, not only representing the country symbolically, but also standing for good fortune and happiness. 8 China has its own alchemical tradition linked to color: yellow and yellow for the Ching. Color coding continued in the first for earth, white for metal, blue-green for wood, red for fire, flag of the Chinese Republic where it represented various eth- and black for water. Each color also corresponds to an animal, nic groups. a part of the body, a season, a planet, and a compass point. Red has been an especially significant color in China. It has Historically, each of China’s Dynasties was associated with a been used in wedding ceremonies, during revolutions, and in In China, purple is worn by specific color: brown for the Sung dynasty, green for the Ming, everyday life to promote good luck andliterary joy and. educated figures. Orange represents love. For the Chinese, white represents the Black signifies the North, yin, winter, For the Chinese, red represents the Blue on black signi- Red on yellow is west, autumn, metal, and mourning. water, and the Tortoise — one of four sun, the phoenix, fire, summer, the fies an evil spirit. considered royal. White gifts are associated with funer- spiritually endowed animals in the south, joy, good fortune and happi- Black on blue als, and a woman never wears white country. Black jade is traditionally ness. It is the luckiest of all colors. means lower class. unless she is in deep mourning. On used in burial to pay respects to the Bright red envelopes are used to the Chinese stage a dignified person north.
Load more

Recommended publications
  • Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once.
    [Show full text]
  • Representations of the Color Green in Shakespeare
    Representations of the Color Green in Shakespeare MATSUDA Misako The color symbolism in English Renaissance literature is no longer innovating topic for students of literary history,1 however, figurative meaning of colors in literary works from the Middle Ages to the sixteenth century deserves further research for the understanding of complicated changing symbolism of colors. As Don Camerron Allen points out, the English poets learned continental color symbolism, and applied it to their works. He lists four treatises which serves as the main stock of the color imagery for the English writers: Alciatus’Emblemata, Giovanni de Rinaldi’s Il mostruossimo mostro (1592), Fulvio Pellegrino’s Significato de’ Colori e di’ Mazzolli (1593), a commentary on a popular sonnet; and a Trattato dei Colori di Sicille Araldo del Alfonso d’ Aragona.2 Among these, Sicille Araldo is one of the most influential writings on colors, which Cesare Ripa consulted when he compiled Iconologia.3 Jean Courtois’s Le Blason des Couleurs, the French version of Sicille Araldo, was written in French in 1435―58. It was first published in 1495 in Paris, and the enlarged edition was published in the beginning of sixteenth century. In France the book was reprinted at least fourteen times by the end of the sixteenth century.4 The book also became popular in Italy during the sixteenth century where it was reprinted six times. These Italian and French treatises discuss colors in terms of their physical substance and psychological effect. Colors are not just colors, but different colors were associated with different human sentiments. Each color has had several figurative meanings from classical times, and was related to each other to represent inward passions, virtues and vices.
    [Show full text]
  • On the Symbolism of Color in Dubliners
    US-China Foreign Language, June 2018, Vol. 16, No. 6, 343-346 doi:10.17265/1539-8080/2018.06.007 D DAVID PUBLISHING On the Symbolism of Color in Dubliners ZHANG Tian-yi, JIA Xiao-yun University of Shanghai for Science and Technology, Shanghai, China This article researches the function of color symbols on expressing the theme by analyzing the original text. By doing such researches, the relationship of symbol with deepening the theme can be clearly revealed. Keywords: Dubliners, Jam Joyce, color symbolism Introduction In creating Dubliners, Jam Joyce chooses the capital of Ireland as its background and vividly describes various kinds of lifestyle and mentation in order to uncover the numbness of people and paralysis of the whole society. This short story made up of 15 stories displays the fierce conflict between people and the whole society and the bitter feeling after failure (Qiang, 2004). Color Symbols As one of the important rhetoric method, color symbol has strong metaphorical meaning. It is often used to describe abstract things and people’s character, living features and mood, which makes the expression vividly (Li, 2007). Different colors brings various kinds of feelings for human beings, this is to say, different colors represent different moods, so we can judge moods, beliefs, nature of people through colors. In this novel, the author uses a lot of colors to vividly express the numbness of people in current society as a result of the brutal war. It’s very hard for people to gain confidence after war. So most people remain stagnate to escape the pain brought by the sufferings.
    [Show full text]
  • Relevance to Attraction in Humans
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by White Rose Research Online Sullivan et al., J Fashion Technol Textile Eng 2017, 5:3 DOI: 10.4172/2329-9568.1000157 Journal of Fashion Technology & Textile Engineering Review Article a SciTechnol journal and their longer-term mates (i.e. husband/wife/partner, fiancé, long- Colored Apparel - Relevance to term relationship) to be physically attractive [5]. For heterosexual groupings, studies have shown that when evaluating a female’s Attraction in Humans attractiveness, men focus not only on physical cues such as facial Sullivan CR1*, Kazlauciunas A2* and Guthrie JT2 expression and body language but also on the type and color of their clothing [6]. For centuries, females have been attracted to the use of color. In Abstract the 1930’s, Korda et al. [7] stated that color was particularly attractive There are numerous different dyes available, many varied fashion to female cinema audiences. Yevonda, in the 1930s, stated that trends, and various different ways to change/enhance physical women were more attached to the use of color photography than were aesthetics. Predicting color preferences and how colors and color men as the medium was better able to highlight visible signs of the combinations, in a shape context, stimulate certain emotions, times, such as red hair, uniforms, flawless complexions and cosmetic represents a challenging prospect. Color is a critical cue for sexual combinations (lips and colored finger nails) [8]. Such use allowed signaling, but what the preferred colors actually are in humans, is females to express themselves more fully [8].
    [Show full text]
  • Computational RYB Color Model and Its Applications
    IIEEJ Transactions on Image Electronics and Visual Computing Vol.5 No.2 （2017） -- Special Issue on Application-Based Image Processing Technologies -- Computational RYB Color Model and its Applications Junichi SUGITA† (Member), Tokiichiro TAKAHASHI†† (Member) †Tokyo Healthcare University, ††Tokyo Denki University/UEI Research <Summary> The red-yellow-blue (RYB) color model is a subtractive model based on pigment color mixing and is widely used in art education. In the RYB color model, red, yellow, and blue are defined as the primary colors. In this study, we apply this model to computers by formulating a conversion between the red-green-blue (RGB) and RYB color spaces. In addition, we present a class of compositing methods in the RYB color space. Moreover, we prescribe the appropriate uses of these compo- siting methods in different situations. By using RYB color compositing, paint-like compositing can be easily achieved. We also verified the effectiveness of our proposed method by using several experiments and demonstrated its application on the basis of RYB color compositing. Keywords: RYB, RGB, CMY(K), color model, color space, color compositing man perception system and computer displays, most com- 1. Introduction puter applications use the red-green-blue (RGB) color mod- Most people have had the experience of creating an arbi- el3); however, this model is not comprehensible for many trary color by mixing different color pigments on a palette or people who not trained in the RGB color model because of a canvas. The red-yellow-blue (RYB) color model proposed its use of additive color mixing. As shown in Fig.
    [Show full text]
  • Switchable Primaries Using Shiftable Layers of Color Filter Arrays
    Switchable Primaries Using Shiftable Layers of Color Filter Arrays Behzad Sajadi ∗ Kazuhiro Hiwadaz Atsuto Makix Ramesh Raskar{ Aditi Majumdery Toshiba Corporation Toshiba Research Europe Camera Culture Group University of California, Irvine Cambridge Laboratory MIT Media Lab RGB Camera Our Camera Ground Truth Our Camera CMY Camera RGB Camera 8.14 15.87 Dark Scene sRGB Image 17.57 21.49 ∆E Difference ∆E Bright Scene CMY Camera Our Camera (2.36, 9.26, 1.96) (8.12, 29.30, 4.93) (7.51, 22.78, 4.39) Figure 1: Left: The CMY mode of our camera provides a superior SNR over a RGB camera when capturing a dark scene (top) and the RGB mode provides superior SNR over CMY camera when capturing a lighted scene. To demonstrate this, each image is marked with its quantitative SNR on the top left. Right: The RGBCY mode of our camera provides better color fidelity than a RGB or CMY camera for colorful scene (top). The DE deviation in CIELAB space of each of these images from a ground truth (captured using SOC-730 hyperspectral camera) is encoded as grayscale images with error statistics (mean, maximum and standard deviation) provided at the bottom of each image. Note the close match between the image captured with our camera and the ground truth. Abstract ment of the primaries in the CFA) to provide an optimal solution. We present a camera with switchable primaries using shiftable lay- We investigate practical design options for shiftable layering of the ers of color filter arrays (CFAs). By layering a pair of CMY CFAs in CFAs.
    [Show full text]
  • Primary Color | 23
    BRAND Style GuiDe PriMary Color | 23 PRIMARY COLOR The primary color for Brandeis IBS is Brandeis IBS Blue, which is also the color of Brandeis University. Brandeis IBS Blue is BrandeiS iBS BLUE to be used as the prominent color in all communications. The PANTONE 294 C primary color is ideal for use in: CMYK 100 | 86 | 14 | 24 • Headlines • Large areas of text RGB 0 | 46 | 108 • Large background shapes HEX #002E6C Always use the designated color values for physical and digital Brandeis IBS communications. WEB HEX for use with white backgrounds #002E6C DO NOT use a tint of the primary color. Always use the primary color at 100% saturation. PANTONE color is used in physical applications whenever possible to reinforce the visual brand identity. CMYK designation is used for physical applications as an alternative to PANTONE (with the exception of any Microsoft Office documents, which use RGB). RGB values are used for any digital communications (excluding websites and e-communications), and all Microsoft Office documents (physical or digital). HEX values are used for any digital communications (excluding websites and e-communications). The value is an exact match to RGB. WEB HEX values are designated so websites and e-communica- tions can meet accessibility requirements. This compliance will ensure that people with disabilities can use Brandeis IBS online communications. For more about accessibility, visit http://www.brandeis.edu/acserv/disabilities/index.html. For examples of how the primary color should be applied across communications, please see pages 30-44. BRAND Style GuiDe SeCondary Color | 24 SeCondary Color The secondary color for Brandeis IBS is Brandeis IBS Teal, which is to be used strongly throughout Brandeis IBS com- BrandeiS iBS teal munications.
    [Show full text]
  • Visualizing the Novel Clinton Mullins Connecticut College, [email protected]
    Connecticut College Digital Commons @ Connecticut College Computer Science Honors Papers Computer Science Department 2013 Visualizing the Novel Clinton Mullins Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/comscihp Part of the Computer Sciences Commons Recommended Citation Mullins, Clinton, "Visualizing the Novel" (2013). Computer Science Honors Papers. 4. http://digitalcommons.conncoll.edu/comscihp/4 This Honors Paper is brought to you for free and open access by the Computer Science Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in Computer Science Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Visualizing Novelthe kiss me please Thesis and code written by Clint Mullins with Professor Bridget Baird as the project's faculty advisor. 1. Data Visualization Discussion of data visualization. 2. Visualizing the Novel Introduction to our problem and execution overview. 3. Related Works Technologies and libraries used for the project. .1 Semantic Meaning .2 Parsing Text .3 Topic Modeling .4 Other Visualizations 4. Methods Specific algorithms and execution details. .1 Gunning FOG Index .2 Character Extraction .3 Character Shaping .4 Gender Detection .5 Related Word Extraction .6 Moments / Emotion Spectrum / DISCO 5. The Visual Our visual model from conception to completion. .1 Concept Process .2 Current Visual Model .3 Java2D .4 Generalizing the Visual Model 6. Results Judging output on known texts. .1 Text One – Eternally .2 Text Two – Love is Better the Second Time Around .3 How Successful is This? 7.
    [Show full text]
  • PRIMARY-CONSISTENT SOFT-DECISION COLOR DEMOSAIC for DIGITAL CAMERAS (Patent Pending)
    PRIMARY-CONSISTENT SOFT-DECISION COLOR DEMOSAIC FOR DIGITAL CAMERAS (Patent Pending) Xiaolin Wu and Ning Zhang Department of Electrical and Computer Engineering McMaster University Hamilton, Ontario L8S 4M2 [email protected] ABSTRACT Another drawback of the existing color demosaic algorithms is that they interpolate missing color components at a Bayer color mosaic sampling scheme is widely used in digital pixel independently of the color interpolations at neighboring cameras. Given the resolution of CCD sensor arrays, the image pixels. The interpolation decision is made on a hypothesis on quality of digital cameras using Bayer sampling mosaic largely the local gradient direction. But these algorithms do not validate depends on the performance of the color demosaic process. A the underlying hypothesis after the color interpolation is done. common and serious weakness shared by all existing color The verification of the hypothesis is difficult if the pixels are demosaic algorithms is an inconsistency of sample treated individually. To overcome this drawback we introduce a interpolations in different primary color components, which is new notion of soft-decision color demosaic. At each pixel, the culprit for the most objectionable color artifacts. To cure the instead of forcing a decision on the gradient with insufficient problem we propose a primary-consistent color demosaic information to guide the interpolation, we make multiple algorithm. The performance of this algorithm is further hypotheses and interpolate missing color components for each enhanced by a soft-decision sample interpolation scheme. of the hypotheses. Then we examine the interpolation results Experiments demonstrate that the proposed framework of under different hypotheses in a window of the pixel in question, primary-consistent soft-decision color demosaic can and choose the one whose underlying hypothesis agrees with the significantly improve the image quality of digital cameras.
    [Show full text]
  • A Brief History of Colour, the Environmental Impact of Synthetic Dyes and Removal by Using Laccases
    molecules Review A Brief History of Colour, the Environmental Impact of Synthetic Dyes and Removal by Using Laccases Leidy D. Ardila-Leal 1, Raúl A. Poutou-Piñales 1,*,† , Aura M. Pedroza-Rodríguez 2 and Balkys E. Quevedo-Hidalgo 3 1 Grupo de Biotecnología Ambiental e Industrial (GBAI), Laboratorio de Biotecnología Molecular, Departamento de Microbiología, Facultad de Ciencias, Pontificia Universidad Javeriana (PUJ), Bogotá 110-23, DC, Colombia; [email protected] 2 Grupo de Biotecnología Ambiental e Industrial (GBAI), Laboratorio de Microbiología Ambiental y de Suelos, Departamento de Microbiología, Facultad de Ciencias, Pontificia Universidad Javeriana (PUJ), Bogotá 110-23, DC, Colombia; [email protected] 3 Grupo de Biotecnología Ambiental e Industrial (GBAI), Laboratorio de Biotecnología Aplicada, Departamento de Microbiología, Facultad de Ciencias, Pontificia Universidad Javeriana (PUJ), Bogotá 110-23, DC, Colombia; [email protected] * Correspondence: [email protected]; Fax: +57-1320-8320 (ext. 4021) † Present address: Carrera 7ma No. 43–82, Edificio 50 Lab. 124, Bogotá 110-23, DC, Colombia. Abstract: The history of colour is fascinating from a social and artistic viewpoint because it shows Citation: Ardila-Leal, L.D.; the way; use; and importance acquired. The use of colours date back to the Stone Age (the first news Poutou-Piñales, R.A.; of cave paintings); colour has contributed to the social and symbolic development of civilizations. Pedroza-Rodríguez, A.M.; Colour has been associated with hierarchy; power and leadership in some of them. The advent Quevedo-Hidalgo, B.E. A Brief of synthetic dyes has revolutionized the colour industry; and due to their low cost; their use has History of Colour, the Environmental spread to different industrial sectors.
    [Show full text]
  • A Cross-Cultural Analysis of Symbolic Meanings of Color
    Chang Gung Journal of Humanities and Social Sciences 7:1 (April 2014), 49-74 A Cross-Cultural Analysis of Symbolic Meanings of Color Hui-Chih Yu* Abstract The main purpose of this paper is to extend the scope of English knowledge about color so as to arouse the interest of students in learning English through the use of color terms. Color not only fills our world with beauty but provides a source of inspirations, which would stimulate the fancy of students to increase the interest of their life. Color serves as a means of communication. The communicative qualities of a color can be defined in terms of natural and psychological associations. Occurrences of colors in nature are universal and timeless. However, color may generate another level of meaning in the mind. This color symbolism arises from cultural, mythical, historical, religious, political, and linguistic associations. The symbolic meanings of color words reveal wide-ranging connotations in cultures including positive and negative meanings. The paper will examine human cognition of colors, explore the origin of primary colors, and analyze the meaning of color in different cultures. The awareness of how and why colors communicate meaning will be explained. Finally, an approach to teaching students how to use color terms in different situations will be presented. Keywords: Color, Element, Connotation, Symbolism, Mythology * Associate Professor, Department of English, Shih Hsin University, E-mail: [email protected]. The author is thankful to two anonymous referees for their valuable comments and suggestions. Chang Gung Journal of Humanities and Social Sciences 7:1 (2014) 1.
    [Show full text]
  • Was the Singular Basis Upon Which Were Countless Wars Fought
    May 15, 2001 What substance, worth its weight in gold (and then some), was the singular basis upon which were countless wars fought, economies catapulted and lives lost? No, the answer isn't cocaine, but an entirely different cash crop—murex purple. Used to dye the clothing of the royal and religious, murex purple has a special place in the history of dress. Sources of Purple Dye In order to understand why a particular color of clothing would have conveyed such prestige it is necessary to learn a little bit about the history of this particular dye. At one time, dyes, such as purple, scarlet, yellow and indigo were made from natural plant, animal and mineral products. The products were often dried, pulverized and then mixed with liquids in order to form dyes for clothing and other textiles. (Today, many dyes for clothing are made synthetically in laboratories, through chemical processes involving products such as aniline.) The purple dye used in ancient religious and royal robes most likely came from one of several types of shellfish: a) Murex brandaris, b) Murex trunculus, c) Helix ianthina, d) Purpura lapillus, or perhaps e) Purpura haemastoma. One legend suggests that the dye was discovered by Helen of Troy, who when strolling along the beach to pass the time while in captivity, noticed that her dog had chewed into a large shellfish and its mouth had become purple as a result (Jensen 1963: 106). The two chief sources for this purple dye are Murex trunculus and Murex brandaris, and the shades of dye produced these sources can range from bright red, to blue, and to deep, almost black, purple.
    [Show full text]