Filtering by
The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.
This paper is centered on the use of generative adversarial networks (GANs) to convert or generate RGB images from grayscale ones. The primary goal is to create sensible and colorful versions of a set of grayscale images by training a discriminator to recognize failed or generated images and training a generator to attempt to satisfy the discriminator. The network design is described in further detail below; however there are several potential issues that arise including the averaging of a color for certain images such that small details in an image are not assigned unique colors leading to a neutral blend. We attempt to mitigate this issue as much as possible.
This paper is centered on the use of generative adversarial networks (GANs) to convert or generate RGB images from grayscale ones. The primary goal is to create sensible and colorful versions of a set of grayscale images by training a discriminator to recognize failed or generated images and training a generator to attempt to satisfy the discriminator. The network design is described in further detail below; however there are several potential issues that arise including the averaging of a color for certain images such that small details in an image are not assigned unique colors leading to a neutral blend. We attempt to mitigate this issue as much as possible.
This paper is centered on the use of generative adversarial networks (GANs) to convert or generate RGB images from grayscale ones. The primary goal is to create sensible and colorful versions of a set of grayscale images by training a discriminator to recognize failed or generated images and training a generator to attempt to satisfy the discriminator. The network design is described in further detail below; however there are several potential issues that arise including the averaging of a color for certain images such that small details in an image are not assigned unique colors leading to a neutral blend. We attempt to mitigate this issue as much as possible.
This project is focused on slavery in the medieval Islamic world. The aim of the study is to understand in more depth the way in which race and color were incorporated into understandings of slavery by medieval Islamic writers, and also who was able to be enslaved from their perspective. A genre of slave buying manuals will be analyzed in order to gain a greater understanding of these concepts. Research focused primarily on three authors. These authors were Ibn Al-Akfani who lived most of his life in Cairo during the 14th century, Ibn Butlan who lived in the 11th century in Baghdad, and Al-Saqati who lived in the 13th century in Málaga. I argue that there are clearly ideas of race and racial constructions within the medieval Islamic context as evidenced by these texts, but that there is not enough evidence to support a connection between these ideas of race and ideas of color or enslaveability. Additionally, I argue that there is no connection between color and enslaveability during this period as reflected in these texts.
This paper is centered on the use of generative adversarial networks (GANs) to convert or generate RGB images from grayscale ones. The primary goal is to create sensible and colorful versions of a set of grayscale images by training a discriminator to recognize failed or generated images and training a generator to attempt to satisfy the discriminator. The network design is described in further detail below; however there are several potential issues that arise including the averaging of a color for certain images such that small details in an image are not assigned unique colors leading to a neutral blend. We attempt to mitigate this issue as much as possible.
The purpose of this paper is to examine how colors and orientations of logos affect consumer’s brand perception. This was done by distributing a survey that asked for participant’s feelings toward a certain subject. The survey first asked for the participant to define certain terms. Then, it asked what emotions the participants felt when thinking about certain colors. Finally, it asked users their opinions of logos after specific changes had been made. These changes include changing the colors of the original logos and changing the orientation of the original logos.
This paper will provide a look into over 600 participants' minds and how they perceive color. These participants were Arizona State University marketing students enrolled in Dr. John Eaton’s course during the 2020 Spring semester. This paper will provide recommendations to those looking to rebrand or create a brand logo.
After looking at the results of the survey and some outside research, it was hard to determine exactly what emotions consumers would feel with each color. Even though there was a large sample size, there were a lot of limitations in the survey which caused complications with the results. Due to these limitations, it made the correlation between specific colors and an emotion inconclusive.
Jake Hernandez grew up in Houston, Texas where his frequent visits to the Museum of Fine Arts introduced him to the works of Mark Rothko and Piet Mondrian. Inspired by these artist’s use of color, Hernandez has leveraged his own understanding of color theory and mathematics to explore the complexity of this element for his honors thesis. In Colored Squares I and II, Hernandez created a process of random color generation from a set of blue, red, and yellow pigments to explore color in the absence of human bias. Since artists' personal biases and inclinations towards color affect our exploration of this element, Hernandez wanted to eliminate these obstructions to investigate color to a much greater extent. In Colored Landscapes I, II, and III, Hernandez used the primaries again in a more expressive style. Drawing inspiration from his travels across Europe and North America, Hernandez created new landscapes all his own. These studies offer a substantiated argument for the limits of art itself, showing artists have only explored a very small fraction of art's possibilities and that more exploration can be done in color and the other elements of art.