This bachelor degree work explores textile print with illusionary qualities, and aims to challenge the viewers visual perception and ideas of reality. With focus on creating three-dimensional illusionary prints the motive is to question how we evaluate design in relation to society and expected imagery. By working with the techniques of weaving, digitally developed print and transfer printing techniques this work strives to create an opportunity for the viewer to expand their idea of reality.

When I was nineteen years old, I traveled to ten countries in Europe. While there, I visited many museums and monuments, but it was in the solemn churches that I first saw stained glass and my aesthetic awakening occurred. My first impression was of a "living painting". By this I mean that a stained glass window is a non-static painting, as its appearance is dependant on the quality of light that shines though its panes. The same stained glass window looks different in the morning, evening and night. It has one color scheme on a sunny day and another on a cloudy day. The same window can look like a completely different work depending on its lighting. Most of the windows I saw were figurative, but the projections they made on the wall and floors were abstract. To me these projections seemed like "color stains", that moved with the sun and the passing of time. The solemn environment of these old churches looked like a huge light installation to a young girl from a country where centuries old stained glass installations did not exist.Currently, I make my work using reflective material and light. In the case of my outdoor pieces, they capture different "colorscapes" depending on the time of day. These reflective materials patch together and create new landscapes out of their natural surroundings. In the case of my indoor pieces, when light hits the surface, a complex interplay of reflections and shadows are created. The relationship between my work and my interest in reflection is the most exciting part of my creative research. Like sound, memory, feeling and imagination, light is intangible and invisible, but its effect on our lives is profound. My interest in creating works with light is in experiencing the phenomenon of their visual qualities as well as in the creation of a relaxing and sublime space.

Ochre is found at many Middle Stone Age (MSA) sites and its use is often attributed by archaeologists to enhanced mental abilities and symbolism. However, the links between the visible uses of ochre, cognition and symbolism have not been clearly demonstrated. Here it is argued that by understanding ochre processing technology and some of the stages involved in using ochre, one can determine the skill, knowledge and cognitive abilities required to execute those activities. In order to understand the usetraces found on ochre, and to enable the identification of them, as well as the types of ochre used, experiments were first performed with geological ochre specimens. Ochre pieces collected from the Sibudu surrounds were used experimentally for a variety of grinding, scoring and rubbing activities. All use-traces created on the ochre piece during an activity were macro- and microscopically examined, recorded and compared. Experimental ochre pieces ground against a coarse or fine-grained slab develop parallel striations. Grinding results in significant changes to the surface shape of the ochre, and often results in faceted edges. Scoring can be performed with the intention to create powder, or to create a design. The incisions created from scoring often do not reach all the edges of the used surface and they regularly have frayed terminations. A frayed incision termination shows that the incision was created by multiple scoring strokes. When ochre is scored to manufacture powder the incisions that are generated are parallel groups of grooves with erratically oriented grooves as well. Grooves created through both grinding and scoring have microstriations within them and they show a range of profile shapes. The most common use-wear from rubbing ochre on soft materials is smoothing, edge rounding and polish. Microstriations and metallic lustre occasionally form during rubbing. The collection of utilised experimental ochre formed a comparative collection for the examination of the Sibudu ochre. The main body of this research comprises a study of the Middle Stone Age ochre assemblage from Sibudu, KwaZulu-Natal, South Africa. Sibudu has a large Middle Stone Age ochre assemblage of over 9000 pieces of ochre from layers dating between ~77 ka and ~37.6 ka. All pieces were examined to determine the types of ochre used and to inspect all use-traces present on the pieces. The assemblage comprises 5449 ochre pieces iv >8 mm, including 682 pieces with markings from use. The pre-Still Bay (~77 ka) and Howiesons Poort (~65–62 ka) layers have the highest percentage of utilised pieces. Bright-red ochre was preferentially selected for use throughout most of sequence. There is evidence of the preferential selection of specific types of ochre for use in the Sibudu assemblage. Shale and pieces with medium hardness values are common throughout the sequence. Grain sizes change through time – pieces with clayey grain sizes are favoured during the Still Bay and Howiesons Poort, whereas silty grain sizes are preferred in the younger Middle Stone Age occupations. High frequencies of bright-red amongst the utilised pieces, coupled with high frequencies of yellow or orange pieces with no evidence of use, suggest that colour choices were deliberate and not a product of postdepositional heating. Chemical analysis of a sample of utilised pieces indicates that they all contain iron, silicon, aluminium and calcium; many pieces contain hematite and some contain maghemite. Use-traces were divided into activity categories, based on experimental results. Combined grinding and rubbing is the most frequent activity for which ochre pieces were used. Grinding and rubbing use-wear also occurs independently on many pieces. Scored pieces are rare, but are more frequent in the pre-Still Bay (~77 ka) industry than elsewhere in the sequence. Some of the incisions appear to be deliberate engravings, and parallel lines and fan-like marks are the most often repeated patterns. Use-traces acquired during powder-producing activities predominate, implying a desire to create ochre powder. Powder-producing activities were mainly performed with bright-red pieces, while minimal scoring is mainly present on brown-red pieces. Pieces with mica inclusions are not common, but were frequently used for powder-producing activities. Once the activities performed with ochre were established, thought-and-action sequences, or cognigrams, were constructed. This helped establish the steps involved in each activity and the temporal and physical distance between the commencement of a task to its completion. Inferential sequences were constructed to establish the procedures and knowledge needed to complete an activity, thereby establishing the cognitive prerequisites. Cognitive interpretations are made using the concept of enhanced executive functions of the brain. The construction of the inferential thoughtv and-action sequences showed that the various ways that ochre was used have different cognitive requirements. Powder-production alone is not an indicator of complex cognitive processes, although some planning, foresight and knowledge of materials is required. Some of the powder was used in the creation of hafting adhesives, which is a cognitively demanding process requiring attention-switching ability, response inhibition and abstract thought. Grinding ochre and then rubbing the piece on a soft material for the direct transfer of powder does require some complex mental abilities, such as multi-tasking and switching attention. Scoring a piece of ochre with a sharp tool does not necessitate enhanced executive functions, but some engravings demonstrate foresight, intentionality and an awareness of space and symmetry that may demonstrate abstract thought. This research provides a complete description of the Middle Stone Age ochre assemblage at Sibudu, and establishes the way that ochre was used at the site. This contributes to the debate on the advent of enhanced behaviours in the past by providing insight into the cognitive abilities required by the ochre users. It offers a method of analysing ochre use in the past by drawing on cognitive theory and the visible applications of ochre. Both simple and complex cognitive abilities were required for ochre activities at Sibudu. The requirement for cognitively complex abilities in some of the ochre-related activities at Sibudu suggests that the people living there during the MSA had advanced mental capabilities like modern humans living today. This research shows how ochre use can be employed as a proxy for cognitive capabilities, and can therefore shed light on the evolution of the modern mind.

Nos últimos 15 anos a utilização do LED (Light-emitting diode) como fonte de iluminação alternativa se tornou bastante comum. Na década de 90 eles evoluíram de forma a ser possível a criação de LED com comprimentos de ondas menores, nas cores azul, verde e ciano e de onde veio a criação do LED branco de alta potência. Com este novo conceito de iluminação, devido às exigências de condições específicas para o desenvolvimento de atividades que exige um grau maior de cuidado no conforto visual e na confiabilidade de análise de cores na produção de produtos, o ser humano passou a ser um dos focos de pesquisa. Como a visão humana pode perceber o espectro de cores dos resultados de processos químicos com a presença do LED? Como o uso dessa tecnologia pode alterar de forma significativa o resultado de testes e exames onde a percepção de cores é determinante? O objetivo deste trabalho é identificar a sensibilidade ao contraste espacial e fazer uma comparação com o uso das lâmpadas fluorescentes tradicionais para identificar as principais vantagens e desvantagens no uso desta tecnologia. As lâmpadas LED foram instaladas em um dos laboratórios de Química do Câmpus São Paulo e testes para identificação de cores foram aplicados a voluntários. Para efeito de comparação, os mesmos testes foram aplicados no laboratório de Biologia que tem o mesmo formato e dimensão, mas as lâmpadas foram as Fluorescentes tubulares e, para completar a análise, painéis LED foram instalados, também, no laboratório de Química e os testes foram repetidos. Os resultados quanto ao uso das lâmpadas tubulares LED foram bem consistentes e, comprovam que o LED pode ser utilizado em ambientes profissionais onde as cores são imprescindíveis para qualidade de produtos. / In the last 15 years, the use of LED (Light-emitting diode) as a source of alternative lighting has become quite common. In the 90 they evolved in such a way that it is possible to create LED with smaller wavelengths, in the colors Blue, green and cyan and the creation of the high power white LED. With this new lighting concept, due to the requirements of specific conditions for the development of activities that require a higher level of care in the visual comfort and reliability of color analysis in the production of products, the human being has become one of the focuses of research. As the human vision could perceive the color spectrum of the results of chemical processes with the presence of LED? As the use of this technology can change significantly the result of tests and exams where the perception is crucial? The aim of this study is to identify the spatial contrast sensitivity and make a comparison with the use of traditional fluorescent lamps to identify the main advantages and disadvantages in the use of this technology. LED lamps installed in a Campus chemistry Labs and tests for identification of colors applied to volunteers. For comparison, the same tests applied in the laboratory of Biology that has the same format and size, but the lamps were the tubular Fluorescent and, to complete the analysis, LED panels installed, too, in the laboratory of chemistry and the tests repeated. The results regarding the use of LED lamps were quite consistent and show that the LED used in professional environments where the colors are indispensable for quality products.

Entre os nossos sentidos, a visão é um dos canais pelo qual recém-nascidos interagem com o meio ambiente, o qual exerce fundamental influência sobre o desenvolvimento de nossas funções cognitivas, habilidades motoras e comunicação social (Milner & Goodale, 2008). Assim, a visão é expressivamente requisitada na criança em fase escolar. Nas crianças com paralisia cerebral além do comprometimento motor apresentado, outras alterações sensoriais podem estar presentes, principalmente aquelas relacionadas à visão. Nosso trabalho teve como principal objetivo avaliar a discriminação cromática em crianças com paralisia cerebral espástica em idade escolar (média=10,13; DP=2,89), pois dentre tantas funções visuais importantes esta tem sido muito pouco estudada nesta população. Avaliamos a visão de cores de 43 sujeitos com paralisia cerebral espástica (5 tetraplégicos, 22 diplégicos e 16 hemiplégicos). Divididos em dois grupos: um grupo de (n=31) possui AV (média=1,13 decimal de snellen; DP=0,25) outro grupo (n=12) possui AV (média=0,39 decimal de snellen; DP=0,13) Um grupo de crianças (n=53) formou o grupo controle. As crianças dos três grupos estavam equiparadas por idade e foram submetidas aos mesmos testes. Além da comparação entre os limiares de discriminação cromática, buscamos associações e correlações entre acuidade visual, sexo, idade, prematuridade, nível de comprometimento motor dado pela escala do GMFCS e etiologia. Estendemos também a avaliação cromática para um grupo de sujeitos adultos (n=41), com idades variando de 18 a 69 anos (média=42,58; DP=14,21). A avaliação da discriminação de cores foi realizada usando o teste psicofísico computadorizado, versão adaptada por Goulart et al. (2008) do original (Cambridge Color Test). Este teste utiliza a versão curta trivector, que mede limiares de discriminação cromática em três eixos de confusão: protan, deutan e tritan. Além disso, o teste apresenta duas posições de localização do estímulo (direita ou esquerda) o que garante condições favoráveis para avaliar crianças com paralisia cerebral. Os resultados apresentaram diferenças significativas nos eixos protan e deutan (p<0,05) no grupo de sujeitos com paralisia cerebral e acuidade visual próxima em relação ao grupo controle. Porém, o mesmo não aconteceu para o eixo tritan, contrariando os achados dos poucos estudos encontrados na literatura. O grupo de sujeitos PCs com acuidade visual reduzida apresentou piores limiares cromáticos para todos os eixos e foram estatisticamente significantes (p<0,05), tanto quando comparados com os PCs com acuidade visual normal ou quando comparados com o grupo de sujeitos controle. Entretanto, subgrupos de PCs (diplégicos e hemiplégicos) apresentaram valores semelhantes de limiares cromáticos entre si, atestados pela não diferença estatística, porém os sujeitos tetraplégicos mostraram-se significativamente diferentes dos diplégicos e hemiplégicos (p<0,05). Considerando-se os níveis de GMFCS observamos uma correlação positiva e significativa para o eixo protan e deutan, mas não para o eixo tritan, bem como também para as demais variáveis testadas / Among our senses, vision is one of the channels by which infants interact with the environment, which exerts a fundamental influence on the development of our cognitive functions, motor skills and social communication (Milner & Goodale, 2008). Thus, vision is significantly required in school age child. In addition, children with cerebral palsy who present motor impairment, can also present other sensory changes, especially those related to vision. Our study aimed to evaluate chromatic discrimination in children at school age who have spastic cerebral palsy (mean= 10,13; SD=2,89), for among many important visual functions, few studies have extensively been done in this population. We evaluated the color vision of 43 subjects with spastic cerebral palsy (5 quadriplegic, 22 diplegic and 16 hemiplegic). Divided into two groups: one group (n=31) had visual acuity (mean=1,13 decimal snellen; SD=0,25) another group (n=12) had visual acuity (mean=0,39 decimal snellen; SD=0,13) A group of children (n=53) formed the control group. Children from the three groups were matched by age and underwent the same tests. Besides comparing the chromatic discrimination thresholds, we seek associations and correlations between visual acuity, sex, age, prematurity, level of motor impairment given by scale in the GMFCS and etiology. We also extended the chromatic evaluation to a group of adult subjects (n=41), with ages ranging from 18 to 69 years (mean=42,58; SD=14,21). Evaluation of color discrimination was performed using computerized psychophysical test, version adapted by Goulart et al.(2008) original (Cambridge Color Test). This test uses the short version trivector that measures chromatic discrimination thresholds in three areas of confusion: protan, deutan and tritan. In addition, the test has two positions of the stimulus location (left or right) which ensures favorable conditions for assessing children with cerebral palsy. The results showed significant differences in protan and deutan axes (p<0,05) in the group of subjects with cerebral palsy, and short visual acuity in the control group. However, it did not happen for the tritan axis, contradicting the findings of the few studies in the literature. The group of cerebral palsy subjects that had reduced visual acuity presented worse chromatic thresholds for all axes and were statistically significant (p<0,05), this is when compared to spastic cerebral palsy with normal visual acuity or when compared to the group of controls. However, subgroups of spastic cerebral palsy (diplegic and hemiplegic) had similar values of chromatic thresholds among them, certified by non-statistical difference. On the other hand, tetraplegic subjects were significantly different from the diplegic and hemiplegic (p<0,05). Considering the levels of GMFCS, we observed a positive and significant correlation for the protan and deutan axis, but not for the tritan axis and neither for the other tested variables

Made available in DSpace on 2016-04-26T18:14:59Z (GMT). No. of bitstreams: 1 Elaine Cristina Andreotti Peixoto.pdf: 3539216 bytes, checksum: 285e84e9eb7c6c7ff5f7e6d408877d92 (MD5) Previous issue date: 2015-03-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / It is known that the " colors and their applications" on advertising are carried out in order to cause in the receiver / consumer reactions that result in consuming the product advertised and arouse passions or dreams. Many studies have been undertaken to analyze the effect of the structure of advertisements and language in their receivers . However , most of them does not address specifically the influence of chromaticity or its relation to the context and the sociohistorical and cultural conditions in which they were produced and how this influence reaches the consumer. For this reason and in order to develop an understanding of advertising and its expansion in Brazil , it is necessary to contextualize it , some relevant facts occurred in Brazil and the world, the years from 1960 to 2014. The study object of this dissertation is to understand the relationship between color and advertising , color and society , color and history, that is , as the realization of these compositions , build our history , our way of looking at society and consume their goods : if the female cosmetics . From a methodological point of view, a qualitative analytical and comparative study was conducted , based on examples or case studies collected in print and / or digital media, collected in monthly periodicity of magazines and their websites / É sabido que as cores e suas aplicações na publicidade são realizadas tendo em vista provocar, no receptor/consumidor, reações que o levem a consumir o produto anunciado, bem como despertar paixões ou sonhos. Muitos estudos têm sido realizados no sentido de analisar o efeito da estrutura das publicidades e da linguagem em seus receptores. No entanto, a maioria deles não aborda, especificamente, a influência da cromaticidade ou sua relação com o contexto e as condições sócio-histórico-culturais em que foram produzidas, bem como de que forma essa influência atinge o consumidor. Por esse motivo e com o intuito de desenvolver uma compreensão acerca da publicidade e sua expansão no Brasil, se faz necessário contextualizá-la, apontando fatos relevantes ocorridos no Brasil e no mundo, dos anos de 1960 até 2014. O objeto de estudo dessa dissertação está em compreender a relação entre cor e publicidade, cor e sociedade, cor e história, ou seja, como a realização dessas composições, constroem a nossa história, o nosso modo de ver a sociedade e de consumir seus bens: no caso os cosméticos femininos. Do ponto de vista metodológico, desenvolveu-se uma pesquisa qualitativa, analítica e comparativa, fundamentada em exemplos ou estudos de caso colhidos em mídias impressas e/ou digitais, coletadas em revistas de periodicidade mensais e, respectivos sites

Made available in DSpace on 2016-03-15T19:46:37Z (GMT). No. of bitstreams: 1 Rose Cristina de Araujo Duarte.pdf: 776946 bytes, checksum: be3c02bda121263709b51293d30521c9 (MD5) Previous issue date: 2008-02-26 / Secretaria da Educação do Estado de São Paulo / Publicity requires various functions in communication that vary according to the purpose of the company. Thus, the purpose of this study was to study the publicitary campaign of the havaianas flip-flops, having as focus the verbal and non verbal languagues which approached the conjunct made by image and colors. This way, the research was based on theorists, like: Kotler, Farina, Greimas, Semprini, among others. The period chosen was from 1994 to 2006, because in 1994 the São Paulo Alpargatas company was renewed in the Havaianas section. Thus, a campaign analyzis was done as for the structure of the advertising, verbal and on verbal elements in the period chosen with intervals of three years. Thus, it is observed that the investments made to make the brand more dynamical improved the final product. There was a noticeable change in colors which contributed to awake the public and gain space in the pressed media, the publicitary discourse was adequated to the target public. At last, it was observed that the changes pleased the public and there was an increase on the product sales, in both national and international market. / A publicidade exerce inúmeras funções na comunicação que variam, conforme o propósito de cada empresa. Desta forma, este estudo teve como objetivo estudar a campanha publicitária das sandálias havaianas, tendo como enfoque as linguagens verbal e não-verbal que abordasse o conjunto imagem e cores. Sendo assim, a pesquisa baseou-se em teóricos, como: Kotler, Farina, Greimas, Semprini dentre outros. O período escolhido foi de 1994 a 2006, porque em 1994 que a empresa São Paulo Alpargatas modernizou-se na divisão havaianas. Assim, foi realizada uma análise das campanhas quanto à estrutura do anúncio, elementos verbais e não-verbais no período escolhido com intervalos de três anos. Observou-se que os investimentos realizados para dinamizar a marca fizeram elevar o produto final. Houve uma notória mudança nas cores que contribuíram para despertar o público e ganhar espaço na propaganda impressa; o discurso publicitário adequou-se ao público-alvo. Finalmente, observou-se que as mudanças agradaram e houve um aumento nas vendas do produto, tanto no mercado nacional como internacional.

O contexto educacional contemporâneo considera a tecnologia móvel como parte do cenário acadêmico. O uso de dispositivos móveis e aplicações digitais em cursos, bacharelado em Design, faz parte do cotidiano das salas de aula. Considerando o potencial das ferramentas tecnológicas, este projeto de pesquisa busca a conexão entre o conteúdo de teoria das cores (disciplina que pertence aos cursos Bacharelado em Design no Rio Grande do Sul) e aplicações digitais sobre teoria das cores, disponíveis no mercado. O estudo descrito nesta dissertação abrange conhecimentos sobre a teoria das cores incorporada a projetos de Design, usabilidade, experiência do usuário e Design instrucional. A partir de uma análise dos currículos dos cursos de Bacharelado em Design do Estado do Rio Grande do Sul, foram selecionadas instituições que contém em seus currículos disciplinas específicas sobre a Teoria das cores. Desta forma classificou-se estes conteúdos, segundo sua aplicação projetual. Com base na categorização dos conteúdos, foram selecionados aplicativos mobile, disponíveis no mercado (lojas virtuais). Estes aplicativos foram avaliados por meio de Heurísticas móveis, o método Affect Grid e os Princípios para o Design de materiais educacionais multimídia. Com base nos resultados das avaliações, foi possível descrever quais aplicações digitais móveis, disponíveis no mercado, mais contribuem com o ensino/aprendizagem da teoria das cores, especialmente, nos processos de projeto em Design. A partir da descrição das aplicações móveis, foram propostos atributos essenciais para o desenvolvimento de aplicações digitais sobre teoria das cores, para uso em disciplinas de projeto em Design. / The contemporary educational context considers mobile technology as part of the academic landscape. The use of mobile devices and digital applications in courses, a baccalaureate in Design, is part of the everyday classroom. Considering the potential of technological tools, this research project seeks the connection between the content of color theory (a discipline that belongs to the Bachelor of Design courses in Rio Grande do Sul) and digital applications on color theory, available in the market. The study described in this dissertation covers knowledge about color theory embodied in design projects, usability, user experience and instructional design. From an analysis of the curricular of the courses of Bachelor of Design in the State of Rio Grande do Sul, institutions were selected that contain in their curricula specific subjects in the Theory of colors. In this way, these contents were classified according to their design application. Based on the categorization of contents, mobile applications were selected, available in the market (virtual stores). These applications were evaluated using mobile heuristics, the Affect Grid method, and the Principles for Designing Multimedia Educational Materials. Based on the results of the evaluations, it was possible to describe which mobile digital applications, available in the market, most contribute to the teaching / learning of color theory, especially in the design processes of Design. From the description of the mobile applications, essential attributes were proposed for the development of digital applications in color theory, for use in project disciplines in Design.

This thesis is a statement about a series of paintings based on an invented dollhouse object that conveys the artist’s identity and placement in the world. Through this essay, the artist represents the home as a space that fosters the recovery and rebirth of invisible energy, ki and examines ideas of transience, interconnection, and rebirth in the mysterious flow of ki in the home. Also the artist will explain her own view about being an artist, the methodologies and specific techniques of her paintings, and her artistic direction for the future.

In this paper, we examine Fox colorings of virtual knots, and moves called k-swap moves defined for virtual knot diagrams. The k-swap moves induce a one-to-one correspondence between colorings before and after the move, and can be used to reduce the number of virtual crossings. For the study of colorings, we characterize families of alternating virtual knots to generalize (2, n)-torus knots, alternating pretzel knots, and alternating 2-bridge knots. The k-swap moves are then applied to prove a "virtualization" of the Kauffman-Harary conjecture, originally stated for classical knot diagrams, for the above families of virtual pretzel knot diagrams.