In nature we see a wide variety of bold colors and unique shapes. Trees personify these characteristics with their curved branches creating distinctive lines and shapes. Leaves and blossoms enhance their structures with an array of colors. Trees possess awe inspiring energy. Each tree is a living thing, its growth shaped by its environment.Similarly, my work is a response to the environment. I employ a spontaneous and bold technique in an attempt to capture the energy I perceive in nature. The use of vigorous lines and high keyed contrasting colors with varied textures conveys that trees are living, growing entities, each one unique. I remain open to new ways of expressing this aesthetic so that my work will continue to grow like a tree and evolve.

Neste trabalho estudamos um pouco de Teoria dos Grafos, abordando diversas definições e teoremas interessantes. Apresentamos o Teorema das Quatro Cores, desde o surgimento do problema com Francis Guthrie. Analisamos a demonstração do teorema realizada por Alfred Bray Kempe e sua refutação através do contraexemplo de Percy John Heawood. Analisamos também a demonstração do Teorema das Cinco Cores de Percy John Heawood. Porém, apresentamos a primeira demonstração válida do Teorema das Quatro Cores, como sua particularidade de ter sido feita com o auxílio de um computador. O trabalho é concluído com uma análise sobre os benefícios que o conhecimento de Teoria dos Grafos pode render aos alunos do Ensino Básico, e como professor o pode trabalhar este assunto em sala de aula, inclusive abordando o problema de coloração de mapas. / In this paper we study Graph Theory, addressing various definitions and interesting theorems. We present the Four Color Theorem, since the origin of the problem with Francis Guthrie. We analyze the proof of the theorem presented by Alfred Bray Kempe, and its refutation by Percy John Heawood counter-example. We also analyze the Percy John Heawood demonstration of the Five Color Theorem. Finally, we present the first valid proof of the Four Colors Theorem, with its peculiarity of having been done with the aid of a computer. We conclude with an analysis of the beneficial that the knowledge of Graph Theory can render students of Basic Education, and how a teacher can work this topic in the classroom, including addressing the problem of map coloring.

This thesis examines how to improve the exhibition of products within retail for clothes and gift articles. The purpose is to investigate and test how light sources and different directions of light affect how the products are perceived regarding their exhibition. Our question formulations are: To what degree does the level of light in combination with the background of the interior design of a shop affect whether a product is perceived more or less attractive? What can we recommend to make the exhibition of products more attractive?   From our observations shops nowadays have relatively high levels of light when they expose products on vertical areas. We have looked on the recommendation from “Energimyndigheten” in order to see what they think is important when designing retail lightening. This recommendation only considers food stores and there were no recommendations for retails when it comes to exhibition. In this thesis we investigate how the level of light affect the experience of illuminated products and how to improve the knowledge of how to illuminate products so that are experienced more attractive.   The methods we used in this thesis where interviews, experiment and measurements of light. We did the interviews with staff from seven different shops in Jönköping city. This was done in order to understand how shops work with lighting and concepts. In our experiment we built up five different test scenes with four identical objects in each scene but with different lightings. Our informants evaluated how the different objects were experienced by estimating their experiences in a survey. We tested how different sources of light work with different backgrounds and objects. The objects that were used in the experiment were glass, metal, a cube of concrete and textile. The measurements of light were used in order to see connections between the measured values and whether they corresponded with the result from the experiment.   From our results we can see that metal halide has the capacity of bringing out textile and also contribute to creating fresh and light impressions on products. Halogen contributes in creating a calmer and lower impression in a retail environment. With darker backgrounds you bring out clear contrasts from bright and colorful objects . Whiter backgrounds reflect the light better which creates life in glass and metal objects in combination with metal halide. We can conclude that the level of light does not affect how attractive products are experienced, this is rather due to the direction of light, the color temperature, the effect and the capacity of the source of lighting to reproduce color in combination with different backgrounds. / Detta examensarbete undersöker hur man kan förbättra exponeringen av produkter inom detaljhandeln för kläder och presentartiklar. Syftet är att utreda och testa hur ljuskällor och olika ljusriktningar påverkar hur produkter upplevs avseende exponering. Frågeställningarna är: I vilken utsträckning påverkar ljusnivån i kombination med bakgrunden på butiksinredningen om en produkt upplevs mer eller mindre attraktiv? Vad kan vi rekommendera för att göra exponeringen av produkter mer attraktiva? I dagsläget har butikerna utifrån våra iakttagelser relativt höga ljusnivåer när man exponerar produkter på vertikala ytor. Vi har tittat på energimyndighetens rekommendation för att se vad de anser är viktigt när man skall utforma en butiksbelysning. Denna rekommendation behandlar enbart livsmedelsbutiker och det finns inga rekommendationer för detaljhandeln när det gäller exponering.       De metoder vi använt i arbetet är intervju, experiment och ljusmätningar. Intervjuerna gjorde vi med butikspersonal från sju olika butiker i Jönköpings centrum. Detta gjorde vi för att bilda oss en uppfattning om hur butiker arbetar med belysning och butikskoncept. I vårt experiment byggde vi upp fem olika testmiljöer med fyra likadana objekt i varje miljö men med olika ljussättningar. Där fick våra informanter utvärdera hur de olika objekten upplevdes genom att de fick skatta sina upplevelser i en enkät. Här testade vi hur ljus från olika ljuskällor fungerar ihop med olika bakgrunder och objekt. De objekt som användes i experimentet var glas, metall, betong och textil. Ljusmätningarna använde vi för att se samband mellan de uppmätta värdena och om de stämde överens med resultatet från experimentet.     Utifrån våra resultat kan vi se att metallhalogen har förmågan att lyfta fram textil samt att den bidrar till att skapa fräscha och ljusa intryck av produkter. Halogen bidrar till att skapa lugnare och ett mer lågmält intryck i en butiksmiljö. Med mörka bakgrunder får man fram tydliga kontraster till ljusa och färgstarka föremål. Vitare bakgrunder återkastar ljuset bättre vilket gör att man skapar liv i glas och metallföremål i kombination med metallhalogen. Vi kan dra slutsatsen att ljusnivån inte påverkar hur attraktiva produkter upplevs utan att detta beror på ljusriktning, färgtemperatur, effekt och ljuskällans färgåtergivningsförmåga i kombination med olika bakgrunder.

Visual sensitivity to small color difference is an important factor for precision color matching. Small color differences can be measured by the line element theory in terms of color distances between a color point and neighborhoods of points in a color space. This theory gives a smooth positive definite symmetric metric tensor which describes threshold of color differences by ellipsoids in three dimensions and ellipses in two dimensions. The metric tensor is also known as the Riemannian metric tensor. In regard to the color differences, there are many color difference formulas and color spaces to predict visual difference between two colors but, it is still challenging due to the nonexistence of a perfect uniform color space. In such case, the Riemannian metric tensor can be used as a tool to study the performance of various color spaces and color difference metrics for measuring the perceptual color differences. It also computes the shortest length or the distance between any two points in a color space. The shortest length is called a geodesic. According to Schrödinger's hypothesis geodesics starting from the neutral point of a surface of constant brightness correspond to the curves of constant hue. The chroma contours are closed curves at constant intervals from the origin measured as the distance along the constant hue geodesics. This hypothesis can be utilized to test the performance of color difference formulas to predict perceptual attributes (hue and chroma) and distribution of color stimulus in any color space. In this research work, a method to formulate line element models of color difference formulas the ΔE*ab, the ΔE*uv, the OSA-UCS ΔEE and infinitesimal approximation of CIEDE2000 (ΔE00) is presented. The Jacobian method is employed to transfer their Riemannian metric tensors in other color spaces. The coefficients of such metric tensors are used to compute ellipses in two dimensions. The performance of these four color difference formulas is evaluated by comparing computed ellipses with experimentally observed ellipses in different chromaticity diagrams. A method is also developed for comparing the similarity between a pair of ellipses. The technique works by calculating the ratio of the area of intersection and the area of union of a pair of ellipses. Similarly, at a fixed value of lightness L*, hue geodesics originating from the achromatic point and their corresponding chroma contours of the above four formulas in the CIELAB color space are computed by solving the Euler-Lagrange equations in association with their Riemannian metrics. They are compared with with the Munsell chromas and hue circles at the Munsell values 3, 5 and 7. The result shows that neither formulas are fully perfect for matching visual color difference data sets. However, Riemannized ΔE00 and the ΔEE formulas measure the visual color differences better than the ΔE*ab and the ΔE*uv formulas at local level. It is interesting to note that the latest color difference formulas like the OSA-UCS ΔEE and the Riemannized ΔE00 do not show better performance to predict hue geodesics and chroma contours than the conventional CIELAB and CIELUV color difference formulas and none of these formulas fit the Munsell data accurately

The diploma work is concentrated on colours and how primary children perceive them. The theoretical part of this work deals with colour from the view of physics, optics and physiology. The theory of colours also partly touches on history and culture, and - more extensively - on psychological meaning of colours. It is followed by findings in the development of using colours in art expression of children and existing research on preferences of colours. The research part of this work is concentrated on primary children´s preferences of colours and on their differences in relation to age and gender.

Neste trabalho estudamos um pouco de Teoria dos Grafos, abordando diversas definições e teoremas interessantes. Apresentamos o Teorema das Quatro Cores, desde o surgimento do problema com Francis Guthrie. Analisamos a demonstração do teorema realizada por Alfred Bray Kempe e sua refutação através do contraexemplo de Percy John Heawood. Analisamos também a demonstração do Teorema das Cinco Cores de Percy John Heawood. Porém, apresentamos a primeira demonstração válida do Teorema das Quatro Cores, como sua particularidade de ter sido feita com o auxílio de um computador. O trabalho é concluído com uma análise sobre os benefícios que o conhecimento de Teoria dos Grafos pode render aos alunos do Ensino Básico, e como professor o pode trabalhar este assunto em sala de aula, inclusive abordando o problema de coloração de mapas. / In this paper we study Graph Theory, addressing various definitions and interesting theorems. We present the Four Color Theorem, since the origin of the problem with Francis Guthrie. We analyze the proof of the theorem presented by Alfred Bray Kempe, and its refutation by Percy John Heawood counter-example. We also analyze the Percy John Heawood demonstration of the Five Color Theorem. Finally, we present the first valid proof of the Four Colors Theorem, with its peculiarity of having been done with the aid of a computer. We conclude with an analysis of the beneficial that the knowledge of Graph Theory can render students of Basic Education, and how a teacher can work this topic in the classroom, including addressing the problem of map coloring.

Afin de pouvoir apparier de manière précise les couleurs il est essentiel de prendre en compte la sensibilité visuelle à percevoir de petites différences de couleur. Les petites différences de couleur peuvent être mesurées par des ellipses qui décrivent les différences justes observables (just noticeable difference - JND). Ces ellipses décrivent la faculté du Système Visuel Humain à discriminer des couleurs très peu différentes. D'un point de vue mathématique, ces ellipses peuvent être modélisées par une fonction différentielle positive de forme quadratique, caractéristique de ce que l'on appelle communément une métrique Riemannienne. La métrique Riemannienne peut être considérée comme un outil utile pour évaluer l'adéquation, la robustesse et la précision, d'un espace couleur ou d'une métrique couleur, à décrire, à mesurer, correctement les différences de couleur telles qu'elles sont perçues par le Système Visuel Humain. L'un des particularités de cette métrique est qu'elle modélise la plus petite distance qui sépare deux couleurs dans un espace couleur par une ligne géodésique. Selon l'hypothèse de Schrödinger les lignes géodésiques qui partent d'un point neutre d'une surface de luminosité constante décrivent des courbes de teinte constante. Les contours de chrominance (chroma) forment alors des courbes fermées à intervalles constants à partir de ce point neutre situées à une distance constante des lignes géodésiques associées à ces teintes constances. Cette hypothèse peut être utilisée pour tester la robustesse, la précision, des formules mathématiques utilisées pour mesurer des différences couleur (color difference formulas) et pour prédire quelle valeurs peuvent prendre tel ou tel attribut perceptuel, ex. la teinte et la saturation (hue and chroma), ou telle distribution de stimulus couleur, dans n'importe quel espace couleur. Dans cette thèse, nous présentons une méthode qui permet de modéliser les éléments de ligne (lignes géodésiques), correspondants aux formules mathématiques Delta E * ab, Delta E * uv, OSA-UCS Delta EE utilisées pour mesurer des différences couleur, ainsi que les éléments de ligne correspondants à l'approximation infinitésimales du CIEDE2000. La pertinence de ces quatre formules mathématiques a été évaluée par comparaison, dans différents plans de représentation chromatique, des ellipses prédites et des ellipses expérimentalement obtenues par observation visuelle. Pour chacune de ces formules mathématiques, nous avons également testé l'hypothèse de Schrödinger, en calculant à partir de la métrique Riemannienne, les lignes géodésiques de teinte et les contours de chroma associés, puis en comparant les courbes calculées dans l'espace couleur CIELAB avec celles obtenues dans le système Munsell. Les résultats que nous avons obtenus démontrent qu'aucune de ces formules mathématiques ne prédit précisément les différences de couleur telles qu'elles sont perçues par le Système Visuel Humain. Ils démontrent également que les deux dernières formules en date, OSA-UCS Delta EE et l'approximation infinitésimale du CIEDE2000, ne sont pas plus précises que les formules conventionnelles calculées à partir des espaces couleur CIELAB et CIELUV, quand on se réfère au système Munsell (Munsell color order system) / Visual sensitivity to small color difference is an important factor for precision color matching. Small color differences can be measured by the line element theory in terms of color distances between a color point and neighborhoods of points in a color space. This theory gives a smooth positive definite symmetric metric tensor which describes threshold of color differences by ellipsoids in three dimensions and ellipses in two dimensions. The metric tensor is also known as the Riemannian metric tensor. In regard to the color differences, there are many color difference formulas and color spaces to predict visual difference between two colors but, it is still challenging due to the nonexistence of a perfect uniform color space. In such case, the Riemannian metric tensor can be used as a tool to study the performance of various color spaces and color difference metrics for measuring the perceptual color differences. It also computes the shortest length or the distance between any two points in a color space. The shortest length is called a geodesic. According to Schrödinger's hypothesis geodesics starting from the neutral point of a surface of constant brightness correspond to the curves of constant hue. The chroma contours are closed curves at constant intervals from the origin measured as the distance along the constant hue geodesics. This hypothesis can be utilized to test the performance of color difference formulas to predict perceptual attributes (hue and chroma) and distribution of color stimulus in any color space. In this research work, a method to formulate line element models of color difference formulas the ΔE*ab, the ΔE*uv, the OSA-UCS ΔEE and infinitesimal approximation of CIEDE2000 (ΔE00) is presented. The Jacobian method is employed to transfer their Riemannian metric tensors in other color spaces. The coefficients of such metric tensors are used to compute ellipses in two dimensions. The performance of these four color difference formulas is evaluated by comparing computed ellipses with experimentally observed ellipses in different chromaticity diagrams. A method is also developed for comparing the similarity between a pair of ellipses. The technique works by calculating the ratio of the area of intersection and the area of union of a pair of ellipses. Similarly, at a fixed value of lightness L*, hue geodesics originating from the achromatic point and their corresponding chroma contours of the above four formulas in the CIELAB color space are computed by solving the Euler-Lagrange equations in association with their Riemannian metrics. They are compared with with the Munsell chromas and hue circles at the Munsell values 3, 5 and 7. The result shows that neither formulas are fully perfect for matching visual color difference data sets. However, Riemannized ΔE00 and the ΔEE formulas measure the visual color differences better than the ΔE*ab and the ΔE*uv formulas at local level. It is interesting to note that the latest color difference formulas like the OSA-UCS ΔEE and the Riemannized ΔE00 do not show better performance to predict hue geodesics and chroma contours than the conventional CIELAB and CIELUV color difference formulas and none of these formulas fit the Munsell data accurately

Tyrimo objektas - ontogenetiniai vaizdinio mąstymo ugdymo ypatumai Tyrimo tikslas – nustatyti ontogenetinius vaizdinio mąstymo ugdymo ypatumus Tyrimo imtis ir organizavimas. Tyrimo imtis gauta taikant imties skaičiavimo formulę. Tyrime dalyvavo 300 septynerių-aštuonerių metų vaikai, 295 keturiolikos-penkiolikos metų paaugliai, 307 dvidešimties-dvidešimt vienų metų studentai. Tai visiškai atitinka imties reikalavimus, todėl manoma, jog tyrimo duomenys bus validūs ir būdingi Šiaulių miesto visų galimų tiriamųjų populiacijai. Iš viso tyrime dalyvavo 903 tiriamieji. Surinkta 5418 piešinių. Tyrimui naudoti 12 spalvų pieštukai ir A4 formato per pusę perkirpti lapai. Tiriamieji turėjo spalvų ir formų pagalba atvaizduoti 6 sąvokas, parinktas pagal Osdgood semantinio diferencialo metodiką. Išvados 1. Vaizdinis mąstymas yra vaizdinių mentalinių operacijų sistema, talpinanti visus, su vaizdu susijusius vidinius ir išorinius psichikos veiksmus. Jį sudaro vaizdinė percepcija, vaizduotė ir vizualizacija, kai žmogus operuoja vidiniais ir išoriniais vaizdiniais. 2. Ikimokyklinio amžiaus vaikų vaizdinio mąstymo ugdymui skiriama kur kas daugiau būdų (metodų) nei kitoms amžiaus grupėms, nes šiame tarpsnyje vaizdinis mąstymas skirstomas į postruktūras, kurias lavinti ir formuoti reikia skirtingais būdais. Tuo tarpu vidurinės mokyklos mokinių ir aukštųjų (ar aukštesniųjų) mokyklų studentų vaizdinio mąstymo lavinimui išskiriami vizualizacijos, vaizdinių priemonių ir įsivaizdavimo būdų taikymas... [toliau žr. visą tekstą] / Visual thinking is essential for all people living in post-modern age where the visual information is growing as quicker as it is possible and human must have competences to comprehend and evaluate visual codes critically. At least there are few discussions in the training of visual thinking field that is why it is important to explore this area which can help for educators to organize more teaching process in all levels of the education. Also it is still unknown the ontogenetic aspects of visual thinking – what is typical for visual thinking in childhood of primary school and in younger and older adolescence? What are the possible views that are forming ontogenetically? What might be recommended for educators for visual thinking training? According to these questions there was formulated the object of the research – the ontogenetic aspects of visual thinking training The goal of the research – to estimate ontogenetic aspects of visual thinking training Methodology of the research. There were participating 300 seven-eight years old children, 295 fourteen-fifteen years old teenagers and 307 twenty and twenty one year old students. These groups meet the requirements of the sample and this leads to the opinion that all data will be typical for all possible research population in Šiauliai. There were 903 participants in the research. There were used 12 colors pencils and 6 A4 format papers ripped in half in the research. The participant were asked to draw by varies forms and... [to full text]

Syfte: Denna studies syfte är att öka förståelsen för vilka personlighetsdrag konsumenter tillskriver varumärken beroende på logotypens färg. Metod: Eftersom studiens syfte har varit att öka förståelsen för ämnet har en kvalitativ metod använts och färgerna blå, grön, gul, röd och svart har legat till grund för undersökningen. För att samla in empiriskt material har semistrukturerade intervjuer utförts med tolv deltagare. Materialet har analyserats med hjälp av Aakers (1997) Brand Personality Scale samt tematisering. Resultat & slutsats: Studiens resultat visar att den blå logotypen associeras med kompetens, den gröna med uppriktighet och den gula med spänning. Den röda logotypen har även den associerats med kompetens och den svarta med robusthet, i Aakers (1997) Brand Personality Scale. Reaktionerna för den blå och den gröna logotypen har visat sig vara enklast för deltagarna att placera samt visat sig överensstämma med tidigare forskningsresultat. Den gula, röda och svarta logotypen har upplevts svårare och resultaten har avvikit mer från tidigare forskning. Förslag till fortsatt forskning: Våra förslag för framtida forskning är att istället för att studera färger, studera vilken påverkan logotypens utformning har på varumärkets personlighet. Vidare kan framtidens forskning studera flerfärgade logotyper. Vår studie studerar endast en speciell subgrupp och framtida forskning kan därför studera en annan subgrupp för jämförelse. Uppsatsens bidrag: Som bidrag till framtida forskning ser vi att denna studie beskriver samband mellan färgerna blå, grön, gul, röd och svart och dimensionerna som återfinns i Aakers (1997) Brand Personality Scale. Detta tillägg ser vi skulle fungera som ett utvecklande ramverk och därför bidra till det teoretiska perspektivet i framtida studier utförda i Sverige. Som rekommendation kan företag rent praktiskt använda sig av dessa resultat när de ska välja färg för sin logotyp. / Aim: In this study we aim to increase understanding of the personality traits consumers ascribe to brands depending on the color of the logo. Method: Due to the aim of the study, which was to increase understanding of the topic, a qualitative method has been used. To collect empirical data semi-structured interviews were conducted with twelve participants. The material was analyzed using Aaker’s (1997) Brand Personality Scale and thematisation. Result & Conclusions: Results show that the blue logo is associated with competence, green with sincerity and yellow with excitement. The red logo has also been associated with competence and the black with ruggedness, in Aaker’s (1997) Brand Personality Scale. The reactions of the blue and green logo has proven to be the easiest for the participants to place and shown to be consistent with previous research. The yellow, red and black logo has been perceived more difficult and the results have deviated more from previous research. Suggestions for future research: Our suggestions for future research is that instead of examining colors, examine the impact of the logo design in brand personality. Furthermore, future research could investigate multi-color logos. Our study examines only a specific subgroup and future research can explore a different subgroup for comparison. Contribution of the thesis: As a contribution to future research, this study describes the relationship between the colors blue, green, yellow, red and black and the dimensions found in Aakers (1997) Brand Personality Scale. This addition would serve as a developed framework and thus contribute to the theoretical perspective in future studies carried out in Sweden. As a recommendation, companies can practically use these results when they are designing their logo.

The subject of our dissertation is the analysis of the function of color and of light and shadow in Le Rouge et le Noir and La Regenta. By function we mean the study of chromatic symbolism in these novels; each being a closed world in which the meaning depends neither on the author's personal existence nor on the external circumstances of the novel. The author then becomes a narrator who likewise only exists in his creation, and the historical circumstances of his era or time can only serve as references if they are explicitly or implicitly mentioned in the work. Colors therefore form a meaningful and coherent system in each work, and the object of our study is thus to explain and to compare the color systems of the two novels in question. There are three distinct functions in the chromatic schemes of Le Rouge et le Noir and La Regenta: an historical function, a social function and a religious function; each of which is analysed respectively in the three chapters of our dissertation. Each function also corresponds to two different reading levels in each novel: an historical and social level, as well as a religious level. The historical and social level, treated in the first two chapters, consists of a diachronic and synchronic study which manifests itself in the affective relationships which the characters maintain with the past, and in their capacity to adapt to both he political regime and to the system of individual and social values of their era. The religious level, treated in the third chapter, consists of an analysis of the importance given to the symbolic figures of Christ and the Virgin Mary in the creation of the characters. This religious symbolism accounts indirectly for each narrator's concept of the function of literature and the power of the book to right an historical situation which seems unacceptable to them. Thus, it is in the relationship between religion and language that one best perceives the narrator's point of view and the ultimate message of his work.