A logo lies central in an organisation's visual identity system and it is a way of communicating fundamental aspects about the organisation, such as the organisation personality or the organisation's mission and vision. The logo, or corporate visual identity, could be seen as the organisation's visual shorthand that summarises these fundamental aspects. A design element such as colour can be an expressive tool in terms of visual identity. The use of a particular colour in the logo of an organisation conveys a specific message about that company's identity and personality through the meaning and symbolism that is attached to the colour. The corporate colour scheme of an organisation can also aid in communication without being displayed in context of the visual identity. The combination of both verbal communication such as text, and visual communication such as images, through a design element like colour, could provide an effective method of conveying information. The nature of this study is descriptive. It examined the role played by colour in an organisation's visual identity as a communication tool. The study followed a qualitative approach, making use of a literature study and a case study approach. In the literature study, the role of the graphic designer, the visual identity and a design element like colour in the context of corporate communication were examined. The sources of evidence used for the case study approach, were questionnaires, as well as a colour analysis of the corporate colour schemes of each of the selected case organisations as utilised in their visual identities. The research project attempted to determine the role of colour as communication, as well as the motivation behind the use of a particular colour, should such a motivation exist, and the communication intended behind each colour. The project also attempted to determine the target markets at which the communication is aimed; the research done by each of the case organisations regarding colour symbolism and the suitability of the colour regarding the target markets; and the importance attached to colour as a communication tool. These questions were investigated through the use of the questionnaires. The colour analysis was done to function as a control mechanism to, for example, determine whether the intended message behind colour correlated to the perceived message as determined by the colour analysis. The results from the questionnaires and colour analysis used in the study showed that colour does play an important role in the selected case organisation's visual identities. The results of the study also found, however, that regardless of how important colour was viewed as a method of communication by the respondents, certain factors exist which influence the effectiveness of colour as a communication tool. / Thesis (M.A. (Communication Studies))--North-West University, Potchefstroom Campus, 2004.

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The Introduction states assumptions and outlines the theoretical background to the study. Chapter One examines a selection of the philosophical evidence for Greek colour-categorisation and conception. Chapter Two considers colour-terms applied to clothing, and the philosophical evidence in light of modern theories about the language of colour. Chapter Three provides a new, integrated, edition of the clothing sections of the 'Brauron Inventories,' tabulated and subjected to semiotic analysis. The Appendix to this Chapter provides a Glossary of all the clothing terms, and discusses colour in different garment types. Chapter Four provides a synopsis of references to coloured clothing in Attic drama, principally for comparison with Chapter Three. Chapter Five considers patterns in the representation of colour in clothing on Attic white-ground lekythoi. Chapter Six provides an overview of the availability, results, and impications of colouring techniques in clothing production. Chapter Seven considers colour as a significant concern of cultic clothing regulations, which are collected and translated. The final chapter outlines conclusions, and is followed by the Bibliography.

Most cameras detect colour by using sensors that separate red, green and blue wavelengths of light which is similar to the human eye. As such most colour information available for computer vision is represented in this trichromatic colour model, Red Green Blue or RGB. However this colour model is inadequate for most applications as objects requiring analysis are subject to the reflective properties of light, causing RGB colour to change across object surfaces. Many colour models have been borrowed from other disciplines which transform the RGB colour space into dimensions which are decorrelated to the reflective properties of light. Unfortunately signal noise is present in all acquired video, corrupting the image information. Fortunately most noise is statistically predictable, causing offsets from the true values following a Poisson distribution. When the standard deviation of a noise distribution is known, then noise can be stochastically predicted and accounted for. However transformations inside cameras and transformations between colour models often deform the image information in ways that make the noise distributions non-uniform over the colour model. When computer vision applications need to account for non-uniform noise, wider tolerances are required overall. This results in a loss of useful information and a reduction in discriminative power. This thesis has a focus on the linearity of signal noise distributions in colour representations which are decorrelated to the reflective properties of light. Existing colour models are described and each of their components examined with their strengths and weaknesses discussed. The results show that the proposed Signal Linear RGB (SLRGB) colour model achieves a transformation of the RGB colour space with uniform noise distributions along all axes under changes to camera properties. This colour space maintains a signal noise with a standard deviation of one unit across the space under changes of the camera parameters: white balance, exposure and gain. Experiments demonstrated that this proposed SLRGB model consistently provided improvements to linearity over RGB when used as a basis for other colour models. The proposed Minimum Weighted Colour Comparison (MWCC) method allows reflectively decorrelated colour models to make colour comparisons which counter the deforming effects of their coordinate systems. This was shown to provide substantial improvements to linearity tests in every case, making many colour models have a comparative noise linearity to undeformed colour models. The proposed Planar Hue Luminance Saturation (PHLS) and Spherical Hue Luminance Saturation (SHLS) colour models are decorrelated to reflective properties of light and allow for signal linear colour comparisons. When used for pixel classification of coloured objects the PHLS and SHLS colour models used only 0.26% and 0.25% of the colour volume to classify all of the objects, with the next best using 0.88% without MWCC and 0.45% with. The proposed Gamut Limit Invariant (GLI) colour model extends the decorrelation of reflective properties of light further by correcting for colours which are too bright and are clipped by the limits of the RGB space. When clipping occurs the properties become no longer decorrelated and shift. GLI models these changes to estimate the original values for clipped colours. The results show that this method improves decorrelation when performing pixel classification of coloured objects with varying proportions of clipped colours. Overall, the results show that the proposed framework of colour models and methods are a significant improvement over all prior colour models in enabling the most accurate information possible for processing colour images.

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No description available.

A logo lies central in an organisation's visual identity system and it is a way of communicating fundamental aspects about the organisation, such as the organisation personality or the organisation's mission and vision. The logo, or corporate visual identity, could be seen as the organisation's visual shorthand that summarises these fundamental aspects. A design element such as colour can be an expressive tool in terms of visual identity. The use of a particular colour in the logo of an organisation conveys a specific message about that company's identity and personality through the meaning and symbolism that is attached to the colour. The corporate colour scheme of an organisation can also aid in communication without being displayed in context of the visual identity. The combination of both verbal communication such as text, and visual communication such as images, through a design element like colour, could provide an effective method of conveying information. The nature of this study is descriptive. It examined the role played by colour in an organisation's visual identity as a communication tool. The study followed a qualitative approach, making use of a literature study and a case study approach. In the literature study, the role of the graphic designer, the visual identity and a design element like colour in the context of corporate communication were examined. The sources of evidence used for the case study approach, were questionnaires, as well as a colour analysis of the corporate colour schemes of each of the selected case organisations as utilised in their visual identities. The research project attempted to determine the role of colour as communication, as well as the motivation behind the use of a particular colour, should such a motivation exist, and the communication intended behind each colour. The project also attempted to determine the target markets at which the communication is aimed; the research done by each of the case organisations regarding colour symbolism and the suitability of the colour regarding the target markets; and the importance attached to colour as a communication tool. These questions were investigated through the use of the questionnaires. The colour analysis was done to function as a control mechanism to, for example, determine whether the intended message behind colour correlated to the perceived message as determined by the colour analysis. The results from the questionnaires and colour analysis used in the study showed that colour does play an important role in the selected case organisation's visual identities. The results of the study also found, however, that regardless of how important colour was viewed as a method of communication by the respondents, certain factors exist which influence the effectiveness of colour as a communication tool. / Thesis (M.A. (Communication Studies))--North-West University, Potchefstroom Campus, 2004.

No description available.

No description available.

No description available.