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Blue is a wise color, which is formed in the landscape and stands out without being noticed. It has been the iconographic color of the Virgin Mary since the 12th century. For the paintings, the artists looked for pigments in Lapis lazuli stone imported from Asia.
The famous “Egyptian blue” is the oldest artificial pigment created by humans. It brings good luck for being part of the objects that accompany the deceased on 'their last trip to infinity'.
As a representation of this blue and the representative meaning of mythology, I developed an illustration of a woman containing the eye of Horus. This is a symbol that emerged in Ancient Egypt that represents strength, power, courage, protection and health.
Tears represent pain in the battle in which Horus lost his eye.
According to mythology, the right side represents the Sun and the left the Moon. Together they symbolize the forces of Light and the entire Universe. In this way, the concept is similar to that of Yin and Yang, opposites representing the whole.
The famous “Egyptian blue” is the oldest artificial pigment created by humans. It brings good luck for being part of the objects that accompany the deceased on 'their last trip to infinity'.
As a representation of this blue and the representative meaning of mythology, I developed an illustration of a woman containing the eye of Horus. This is a symbol that emerged in Ancient Egypt that represents strength, power, courage, protection and health.
Tears represent pain in the battle in which Horus lost his eye.
According to mythology, the right side represents the Sun and the left the Moon. Together they symbolize the forces of Light and the entire Universe. In this way, the concept is similar to that of Yin and Yang, opposites representing the whole.
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According to Pastoureau and Simonnet, blue is a discreet color, the most rational of all, with an omnipresent and consensual strength. In the 15th century, the king of France distinguished himself from other kings in Christianity by using a peaceful flower, the fleur de lis, on his mantle. “From the blue field sown with golden fleur-de-lis”. The first king to make use of this concept and to represent this symbol was Louis VII, continuing his successors in the ceremonies with a blue field and golden fleur de lis embroidery.
The fleur de lis is a heraldic figure symbolically identified with the Lily, in which, its name comes from the contraction of "Louis", represented by three petals that signify faith, wisdom and value. Also associated with a biblical plant and also with Jesus Christ. Therefore, the ancient European kings were divine by direct consecration of the divinity.
To convey the symbol of the fleur de lis, I developed an animation that communicated purity and the Holy Trinity in the flower's bloom.
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"Red has a symbolic duality, two opposing identities: in the Old Testament, both lack and forbidden are associated with power and love."
In this duality, between positive and negative, between fire, life and death, sin, I was inspired by the story of Charles Perrault, Little Red Riding Hood, from 1697, to represent this phase of the red.
In the legend, the protagonist has just entered adult life, and to represent this phase of adolescence, the color of the cover is red. So her mother, when she asks her to visit her grandmother, not to talk to strangers, because she is afraid of real predators.
In the legend, the protagonist has just entered adult life, and to represent this phase of adolescence, the color of the cover is red. So her mother, when she asks her to visit her grandmother, not to talk to strangers, because she is afraid of real predators.
The original story is represented by sins like cannibalism, and savagery and naivety.
In this way, I designed the hood of the little hat with the texture of leaves because it represents a season of the year, autumn, when the leaves fall and fly, as something very fleeting in life. This interpretation fits in your adolescence, which is fleeting and naive because it is the transition from childhood. With her ingenuity, I draw the heart that comes out of her body and the hand of the wolf that she is almost grabbing for representing the moment when she trusts someone she doesn't know.
In this way, I designed the hood of the little hat with the texture of leaves because it represents a season of the year, autumn, when the leaves fall and fly, as something very fleeting in life. This interpretation fits in your adolescence, which is fleeting and naive because it is the transition from childhood. With her ingenuity, I draw the heart that comes out of her body and the hand of the wolf that she is almost grabbing for representing the moment when she trusts someone she doesn't know.
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The textile history of red is a luxurious chapter in the book 'The psychology of colors'. Heller (2000) explains that after the fall of Constantinople, purple violet becomes red, becoming the most expensive dyeing. This was obtained by an insect, also called louse, which sucks sap from the leaves and then lays eggs full of reddish juice. When dry, they were crushed and reduced to a thick powder for making the paint.
To dye 10 kg of wool, 1 kg of ink was needed, and for that, it needed to collect about 140 thousand insects from the hangman's leaves. The red of this dyeing is very intense, and resistant to light. Most of the natural colors faded soon, so it was not possible to use them to dye expensive fabrics that could pass from generation to generation.
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In our vocabulary, white is associated with a lack: a white page (without text), a white check (without value), or even the expression ‘gave me a white!’
In our imagination, we associate white with purity and innocence. In certain regions, snow reinforces these symbols, together with serenity and peace.
In our imagination, we associate white with purity and innocence. In certain regions, snow reinforces these symbols, together with serenity and peace.
To illustrate purity, longevity and complete happiness, I drew tsurus (crane), large birds of light plumage, reaching white, representing the belief of vitality, innocence and peace. Tsurus are also represented in the textile development of fukusa *, which can be used both to wrap gifts and to purify tea in the Japanese ceremony.
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In color psychology, Heller (2000) addresses the concept of white by relating the color of the dead, spirits and ghosts.
“The dead are dressed in white so they will wear white when they are resurrected. According to the old tradition, white is the color of flowers and candles for the dead. The faces of the dead lack the colors of life [...] ”.
“The dead are dressed in white so they will wear white when they are resurrected. According to the old tradition, white is the color of flowers and candles for the dead. The faces of the dead lack the colors of life [...] ”.
In the previous post, I talked about white having an aspect of its history focused on the “lack”.
I decided to associate white, which is the color of the dead and ghosts, with the concept of lack previously mentioned, and developed a 3D of the classic sheet ghost.
I decided to associate white, which is the color of the dead and ghosts, with the concept of lack previously mentioned, and developed a 3D of the classic sheet ghost.
After watching the film A Ghost Story, I saw that the film is not about death itself, but with missing something, which in this case was home, a place that was once familiar but that has now become a memory erased.
This ghost, represents, another story of the colors that I address here, and that are already associated and rooted in our language and behavior.
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In nature, green looks calm, comforting, delicate. Made by man, green is more indecisive, enigmatic, unsettling.
To achieve green dyeing, it was only possible in two ways:
natural (through plants, roots, flowers or mineral materials like malachite, jade) -> délavé aspect.
or artificial (from the oxidation of copper with vinegar) -> very intense and luminous tones, however, corrosive or poisonous.
The green symbol is represented by what changes, by what varies, by what changes. The chameleon has much of the origin of this symbol that the green color carries in its history.
On some continents, Chameleons are considered protective beings of the earth and of men, representing divine wisdom and good luck. Elsewhere, they are symbolically considered gods.
On some continents, Chameleons are considered protective beings of the earth and of men, representing divine wisdom and good luck. Elsewhere, they are symbolically considered gods.
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From the Middle Ages to the 19th century, in tales, dreams and superstitions, green was magical, like the dresses of fairies or witches, which favors all metamorphoses and all enchantments.
The animation cocoon came up with the magic of green and the transformation that nature interprets in the butterfly's life cycle.
A curiosity of the green pigment is that the mixture of yellow and blue only emerged after the 18th century, which was after the discovery of Newton's spectrum. And then, 18th century chemists created a theory by defining primary colors (yellow, blue and red) and complementary colors (green, violet and orange).
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Green is the color of chance, of game, of destiny, of luck.
Interestingly, green also has another symbol, it is considered as complementary to red, the color of prohibition, and has become its opposite, the color of permission. This idea was imposed from the 1800s, when international signage for boats was invented, which later passed to trains and cars. Today, our society carries green as a symbol of freedom, youth and health.
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The most elementary experience we have of yellow is the sun. This experience is shared by everyone as a symbolic effect: yellow acts in a joyful and invigorating way.
Yellow radiates with a smile, it is playful and jovial.
Yellow radiates with a smile, it is playful and jovial.
Yellow-orange-red is the triple chord typical of pleasure and of everything that surrounds it, it is the chord of joy in life, activity, energy, clamorous animation.
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In Asia and South America, yellow has always been valued. In China, for a long time, it was the Emperor's reserved color, always occupying an important place in Chinese daily life, associated with power, wealth, wisdom.
For European culture, yellow is the least appreciated color among the six basic colors, located last, after blue, green, red, white and black.
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The Zebra is linked to the balance between the different palettes of existence. Good and bad, right and wrong, everything is fundamentally a matter of concept, of perspective.
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Zebra invites you to see things from another angle. It is often tempting to cling to a particular belief system and disregard other truths, other possibilities. The spirit of the zebra symbolizes the different, the unusual, the openness to everything that could be seen as exotic. It brings the energy of uniqueness. Like the Horse, it represents the flame of freedom, the Free Spirit itself. But, in the special case of Zebra, this freedom is exercised in the sense of the manifestation of individuality, without fears or reservations about the perception of the other.
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Zebra invites you to see things from another angle. It is often tempting to cling to a particular belief system and disregard other truths, other possibilities. The spirit of the zebra symbolizes the different, the unusual, the openness to everything that could be seen as exotic. It brings the energy of uniqueness. Like the Horse, it represents the flame of freedom, the Free Spirit itself. But, in the special case of Zebra, this freedom is exercised in the sense of the manifestation of individuality, without fears or reservations about the perception of the other.
Black is the color of individuality, black clothing concentrates the impression that a person produces on his face, which is the center of individuality. Black has spread throughout Europe as a symbol of individual responsibility, of the most modern philosophy of individuality: Jean-Paul Sartre's existentialism.
"The important thing is not what we do with us, but what we do with what they make of us." JEAN PAUL SARTRE (1905-1980).
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Colors influence the effect caused by size and weight. Black spaces look much smaller than white ones. Due to the strong contrast it makes in the environment, black causes the impression of clumsy and heavy. Black concentrates the action of the object's limits.
I worked on this animation to compare the colored flower with the gray scale flower and the black background to understand the effects of manipulation with the colors we can obtain.
At each hit of the ball, I also work with interspersed colors, noting that the feeling of heaviness changes from the moment it changes its color.
At each hit of the ball, I also work with interspersed colors, noting that the feeling of heaviness changes from the moment it changes its color.
To what extent is it possible to manipulate colors?
Did you have that feeling too?
Did you have that feeling too?
