Thesis (Ed. D.)--Illinois State University, 1976. / Title from title page screen, viewed Nov. 23, 2004. Dissertation Committee: Harold L. Gregor (chair), L. Moody Simms, Macon L. Williams, Kenneth Holder, Keith Knoblock. Includes bibliographical references (leaves 418-447) and abstract. Also available in print.

No description available.

The purpose of this study was to examine the changing definition of color harmony and to ascertain a general state of understanding of the term. A content analysis method was applied to writings taken in a special sampling technique, selecting for analysis those works regarded as classics in the broad field of color literature.

No description available.

No description available.

Orientador: Sérgio Mauro Romagnolo / Banca: José Paiani Spaniol / Banca: Marco Garaúde Giannotti / Banca: José Leonardo Nascimento / Banca: Tiago Mesquita / Resumo: A tese discute as manifestações cromáticas elaboradas por alguns artistas contemporâneos, brasileiros e estrangeiros, que exploram as potencialidades da cor no seu caráter físico, concreto e material, evidenciando sua ambiguidade e propiciando inovações nos objetos pictóricos. O estudo também apresenta a produção pictórica pessoal, realizada no período de 2006 a 2019. / Abstract: The thesis discusses the chromatic manifestations elaborated by some contemporary artists, Brazilian and foreign, who explore the potential of color in its physical, concrete and material character, showing its ambiguity and providing innovations in pictorial objects. The study also presents personal pictorial production, carried out in the period from 2006 to 2019. / Doutor

An investigation into the relation between objects and colors is essential in understanding how color perception is evolved in ancient China. First, the separation of objects and colors is a major step to establish a color system. Second, the advanced understanding of a unifying framework between colors and objects has been passed down through generations, which not only made its impact on traditional Chinese paintings' theory with regards to color such as "using color to portray color", "coloring by physical appearance", but also in a way restrained ancient people's thoughts on color's intrinsic properties. To satisfy the taste and understanding in color of their time, the ancients opted for the physical coordinates of an object as their final choice of color to be depicted, indicating their belief in the unification of object and color. When being reflected in paintings, such belief is shown as a pursuit of stable and organized color compositions. / Behind this rich tapestry of colors, the physical production of color pigments is instrumental in the art production in Dunhuang. In the Tang dynasty, the flourishing printing and dyeing industry fuelled the development of plant dyes, some of which could be employed in paintings to make their contributions in art. Mineral pigments made their way to Dunhuang amid the frequent cultural exchanges between China and the West, which formed the material basis for the vibrant Dunhuang art. However, when weighting their color options amid the exported pigments, Central China-culture genes helped to make a conscious decision to reflect local cultural spirit. / Dunhuang in the Tang dynasty is not a simple phrase describing a physical location during a certain time; it is rather an interrelated and compound concept. The rich color culture of the Tang dynasty was preserved through art in Dunhuang and the special nature of Dunhuang culture made it possible for us to understand the complexity of Tang color concept. Through depictions of secular life in both words and images, Dunhuang helped to construct a complete picture of Tang color theory. / In Tang dynasty, the nation's perception of color matured in discipline and art forms are manifested in a mirage of colors. The secular quality in the Tang society dictates the use of natural colors. The different hues of red and green became the color codes for Tang spirit, which are also the dominant colors used in Dunhuang's mural art. The frequent use of red colors reflects the uplifting spirit of its time. / 王冬松. / Advisers: Kam Tang Tong; Jin Zhou. / Source: Dissertation Abstracts International, Volume: 73-06, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 278-286). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Wang Dongsong.

The problem of this study is to determine the degree to which color concepts should be taught to the art student. There is a survey of the awareness of color through art history, the introduction of certain historical and recent information in the fields of physics, physiology, and psychology in relation to color and the art student, a review of the symbolic nature of color, an examination of the development of color notation or theories utilized by art students, and an attempt to integrate color more fully with the other art elements.

Thesis--Zürich. / Vita. Includes bibliographical references (p. 309-317).

No description available.