Research on colorism continues to gain momentum across several disciplines. However, while varied studies have explored the social phenomenon among adult populations, especially those of African ancestry, few have systematically investigated the extent to which African American youth are exposed to or endorse hierarchical perceptions of skin color. The current study addresses this void in colorism literature. Employing a grounded theory approach, the present investigation examines African American female adolescents’ perceptions of skin color, aiming specifically to understand the sociocultural factors that underpin and contribute to colorist socializations as well as sources of skin color messages. Five focus groups and nine interviews were conducted with 30 African American girls ranging in age from 12-16. Participants were recruited from local Boys and Girls clubs, neighborhood centers, and nonprofit organizations. Participants were asked such a priori based questions as: 1) What do people think about light skin Black girls? 2) What do people think about dark skin Black girls? 3) What messages about skin color do you hear from Rap music? and 4) Do Black men and boys prefer girls of certain skin colors. Constant comparison data analysis and coding revealed African Americans girls are, in fact, exposed to and endorse hierarchical perceptions of skin color, the central phenomenon Three core categories related to the central phenomenon emerged: 1) sources of skin color messages, e.g. family and rap music 2) skin color messages, e.g. skin color governs social standing, physical attributes, and personality/behavioral traits and 3) effects of skin color messages, e.g. mate preferences, desires to change one’s appearance, and within-race division. From these three core categories emerged seven subcategories and themes that offer additional information and insight into the central phenomenon. Findings from this study indicate African American young females are significantly influenced by skin color preferences, and thus may stand to gain from the development of curricula or programs designed to counter colorist stereotypes, reduce the effects of skin color biases, and promote a greater sense of self-satisfaction and wellbeing.

My works evolve from a concrete vision but tend to lack recognizable imagery. Color and texture are central to my process. By isolating the element of color, I strive for purely formal qualities in my color field paintings. Working on textured suraces, such as burlap, allows me to capture textural elements, which further adds to the aesthetic components of my art. The lack of realistic imagery provides an opportunity for the viewer to personally interpret the visual elements. It is my objective that during the aesthetic experience, the viewer becomes captivated by the unique ways that colors play within tiny sections of the composition.

This thesis deals with four major design movements, beginning with Constructivism, and ending with Deconstructivism, including two other movements, as intermediate links, that developed in the period between International - Swiss Design and Postmodernism. The purpose of this thesis is to explain in a visual time-line, the interrelationships of these movements while at the same time visually represent their concepts. Also it leads to an analysis and discussion of the role of Deconstructivism in graphic design.

Through my art process and material selection, I investigate how interior spaces long to accumulate memories and possessions. I am interested in encroaching floor to ceiling build-up of collected goods kept in the homes of individuals unable to discard or part with possessions. These individual’s daily movements through their space and their denial of the surrounding mass informs my work. My work is larger than human scale, made of multiple units, and dense; yet understated by the subtle use of color and repeated materials. When I make an installation it often begins with creating a wall or a floor that delineates itself from the actual architecture of a room. I procure discarded domestic fragments such as carpet, shingles, and blinds. I select one material for each project to emphasize excessive quantities. I seek out donated goods and trash piles, heaps on the edge of consumer waste. The sourcing of these materials is serendipitous. I elevate these mundane materials by taking them out of their original context. The cycle of regeneration moves from material to “art object” back to material again as the work is displayed and dispersed back into the cycle of waste. In this thesis I will discuss how through my process and materials, I investigate interior spaces where memory and possessions accumulate.

Surrounding materials, signage, and detritus on the daily path offer plenty to look at, if not too much. The eye seeks comfort in its passive vision by ignoring its peripheries. Identification of my personal vision reveals itself through the manipulation of ignored material. I consider hand-made vs. machine made, singular vs. the multiple particularly in plastics, packaging and other utilitarian objects. Industrial processes influence my one-person operation. Understanding the way objects are made allows for an opportunity to connect with them. I’m already surrounded by them, the least I can do is get to know them better.

L’argent associé aux colloïdes de titane est connu depuis longtemps pour produire un effet photochrome réversible. Le changement de couleur est dû à la réduction des sels d’argent en nanoparticules métalliques sous lumière UV et à l’oxydation de ces dernières sous lumière visible. Récemment, une nouvelle fonctionnalité induisant du photochromisme multicolore a été rapportée dans des matériaux nanocomposites constitués de nanoparticules d’argent introduites dans des films nanoporeux d’oxyde de titane. Dans cette thèse, nous étudions l’influence d’une matrice mésoporeuse d’oxyde de titane avec des tailles de pores contrôlées sur le comportement photochrome de tels films. Nous montrons que la porosité des films permet de contrôler la taille des particules formées sous insolations UV et qu’il est possible de blanchir les motifs photo-induits avec une lumière monochromatique visible bien qu’habituellement ce type d’insolation colore le film. L’utilisation de ces matériaux permet aussi d’améliorer sensiblement la stabilité temporelle des inscriptions photo-induites, ce qui permet de les utiliser comme support de données reconfigurables. Nous démontrons aussi qu’au-delà d’un seuil en intensité, il est possible d’inscrire des motifs permanents avec une lumière UV ou visible, ce qui permet l’utilisation de ces films comme support de données permanentes. Enfin, dans une dernière partie, nous montrons qu’il est possible de photo-inscrire en lumière visible des couleurs dichroïques fortement réfléchissantes sans aucune réduction préalable des sels d’argent / Silver species adsorbed on colloidal titania have been known for a long time to exhibit photochromism. The color change is due to the reduction of silver salts from metallic nanoparticles under UV illumination and oxidation of these latters under visible illumination. Recently, a new functionality inducing multicolor photochromism has been reported in nanocomposite materials constituted by silver nanoparticles introduced in nanoporous titania film. In this dissertation, we study the influence of mesoporous titania matrix with controlled pores sizes on the photochromisrn behavior of such films. We show that the films porosity allows to control the formed particles under UV illumination and that is possible to bleach the photo-induced patterns with a monochromatic visible light although usually this type of illumination color the film. The utilization of these materials allows also to sensibly improve the temporal stability of photo-induced inscriptions, which allows to use them as rewritable data carriers. We demonstrate also that above an intensity threshold, it is possible to inscribe permanent pattern with an UV or visible illumination, which allows to use these films like permanent data carriers. Finally, in the last part, we show that it is possible to photo-induce in visible light dichroic color highly reflective without prior reduction of silver salts

Topic is processed sunset painting technique oil painting means to Latn and is crowned by a series of "Afterglow". is a continuation of previous work dealing with optical illusions and phenomena occurring in nature. "Glare, however, focuses on logical Only authorized color and shape inspired by the light background storyline. This resulted in a series of closed playing with forms and means in the final painting abstract painting

Parmi les stimuli environnementaux, la couleur est une expérience perceptuelle omniprésente. Elle est capable d’infléchir la motivation d’approche et d’évitement des individus sans qu’ils en aient conscience. Elliot et ses collaborateurs (2007) ont en en effet montré qu’en contexte d’accomplissement, le rouge agissait subtilement sur les processus cognitifs et moteurs en évoquant une menace. L’objectif de cette thèse a été d’enrichir ce paradigme des couleurs à l’aide de variables et de tâches non testées. Notre travail a tout d’abord montré l’effet délétère du rouge sur la variabilité de la fréquence cardiaque et la mémoire de travail lors d’un test cognitif. Cet effet négatif a ensuite été mis en évidence sur l’efficience motrice lors d’une tâche de force maximale. Sur la base d’une validation partielle en langue française du questionnaire de mesure des tempéraments (Elliot & Thrash, 2010), il a ensuite été suggéré que l’effet débilitant du rouge sur la mémoire pouvait être modulé par le tempérament d’évitement. Enfin, nous avons étudié de façon exploratoire la modulation de l’effet menaçant du rouge par l’origine culturelle. Les différentes significations accordées au rouge par des étudiants chinois et français pourraient être à l’origine d’une modulation de l’effet de cette couleur sur l’efficience motrice. / Among the environmental stimuli, the color is a ubiquitous perceptual experience. It is able to influence the approach and avoidance motivation outside of consciousness. Elliot and colleagues (2007) have indeed shown that in an achievement context, red acts as a subtle threat-cue on cognitive and motor processes. The aim of this thesis was to extend this empirical and theoretical work, using novel variables and tasks. Our results have first shown the deleterious effect of red on the heart rate variability and the working memory in a cognitive test, and then on the motor efficiency during a maximum voluntary contraction task. Based on a partial French validation of the approach-avoidance temperament questionnaire (Elliot & Thrash, 2010), it was then proposed that the negative effect of red on the memory could be modulated by the avoidance temperament. Finally, we have studied in an exploratory fashion the modulation of the threatening red effect by the cultural origin. Our results have suggested that differences in meanings given to red between Chinese and French students could have different consequences on motor efficiency.

Statistical graphics are often augmented by the use of color coding information contained in some variable. When this involves the shading of areas (and not only points or lines) - e.g., as in bar plots, pie charts, mosaic displays or heatmaps - it is important that the colors are perceptually based and do not introduce optical illusions or systematic bias. Here, we discuss how the perceptually-based Hue-Chroma-Luminance (HCL) color space can be used for deriving suitable color palettes for coding categorical data (qualitative palettes) and numerical variables (sequential and diverging palettes). / Series: Research Report Series / Department of Statistics and Mathematics

Master of Science / Food Science / John Unruh / A factorial arrangement of treatments was used to evaluate the effects of two subprimal types (chuck roll and knuckle), two quality grades (Premium Choice and Select), and three vacuum storage aging times before processing (7, 21, and 42 d) on ground beef patty display color stability and sensory attributes. At the end of each aging time, four knuckles or two chuck rolls representing their respective quality grade categories were combined and ground to form a sample batch. After a final grind, patties were formed using a patty machine, packaged in overwrapped trays, and displayed in a coffin-type retail case under continuous fluorescent lighting. Ground beef patties from chuck roll and Premium Choice subprimals had brighter red visual color scores, less discoloration, and higher (P<0.05) L*, a*, b*, and chroma values than those from knuckle and Select subprimals, respectfully. With increased display time, patties became (P<0.05) darker red and more discolored and had decreased L*, a*, b*, a/b ratio, and chroma values and increased hue angle values. Ground beef patties from Select knuckle subprimals had greater (P<0.05) oxygen consumption rate (OCR) than those from Premium Choice chuck roll, Select chuck roll and Premium Choice knuckle subprimals. Patties from subprimals aged 42 d had a lower metmyoglobin reducing ability (MRA) than those from subprimals aged 7 and 21 d. Greater aging and display times had higher (P<0.05) aerobic and lactic acid plate counts. In addition, thiobarbituric acid reactive substances values increased (P<0.05) from 7 to 21 d of aging and from 0 to 24 h of display. Ground beef patties from Premium Choice subprimals had a higher MUFA:SFA ratio (P<0.05) than those from Select subprimals. All treatments had acceptable sensory panel results with minimal differences due to treatment. Lower (P<0.05) peak force values for slice shear force and Lee-Kramer were recorded for patties from chuck roll, Premium Choice, and 42 d aged subprimals than those from knuckle, Select, and 7 d aged subprimals, respectfully. Overall, Premium Choice chuck rolls aged for fewer days would result in the most color stability and extended display life.