Outside the western world, red has different associations. Red also indicates danger (the reason stop lights and signs are red, and that warning labels are often red). Red can be associated with anger, but is also associated with importance (think of the red carpet at awards shows and celebrity events). It’s been shown to enhance human metabolism, too. Red can actually have a physical effect on people, raising blood pressure and respiration rates. In history, it’s been associated with both the Devil and Cupid. It’s also associated with love and passion. It’s associated with fire, violence, and warfare. Use warm colors in your designs to reflect passion, happiness, enthusiasm, and energy. Red and yellow are both primary colors, with orange falling in the middle (making it a secondary color), which means warm colors are all truly warm and aren’t created by combining a warm color with a cool color. These are the colors of fire, of fall leaves, and of sunsets and sunrises, and are generally energizing, passionate, and positive. Warm colors include red, orange, and yellow, and variations of those three colors. And in Part 3 we’ll discuss how to create effective color palettes for your own designs. In Part 2 we’ll talk about how hue, chroma, value, saturation, tones, tints and shades affect the way we perceive colors. Here we’ll discuss the meanings behind the different color families, and give some examples of how these colors are used (with a bit of analysis for each). This is the first in a three–part series on color theory. Cultural differences can compound those effects, with a hue that’s happy and uplifting in one country becoming depressing in another. Something as simple as changing the exact hue or saturation of a color can evoke a completely different feeling. Also, subscribe to our newsletter to not miss the next ones.Visual Perception And The Principles Of Gestalt. ![]() Part 3: How To Create Your Own Color Schemes.Part 2: Understanding Concepts And Color Terminology.Ainsi, tlapalli désignait le plus souvent les matériaux colorants et en particulier la couleur rouge de la cochenille, mais le terme faisait également allusion, dans certaines constructions métaphoriques, à la transmission des savoirs et des valeurs traditionnelles au sein de la société nahuatl, ainsi qu’aux lignages nobles qui garantissaient cette transmission. En suivant la trace de ce mot dans la littérature en nahuatl classique, il apparaît, en effet, que la notion de couleur était, pour les anciens Mexicains, à la fois concrète et abstraite. ![]() Dans cet article, je m’intéresse au concept de couleur chez les anciens Nahuas en enquêtant sur un mot, tlapalli, dont l’un des sens est « couleur » mais qui jouit de significations multiples selon ses contextes d’utilisation. Complémentaire de l’analyse iconographique, l’étude du lexique s’avère une stratégie fructueuse pour appréhender le regard que chaque société porte sur la couleur. However, in some metaphors, tlapalli denotes the transmission of knowledge and traditional values in nahuatl society, as well as the nobility which was responsible for this transmission. For instance, tlapalli often refers to colouring materials and, in particular, to cochineal red. Tracing the different uses of the word in classical nahuatl literature, it seems that the ancient Mexican’s notion of colour was both concrete and abstract. ![]() In this article, I will focus on the concept of colour among ancient Nahuas, investigating one specific word, tlapalli, which means « colour » but also has other meanings depending on the context in which it is used. As a complement to iconographical studies, research on vocabulary proves to be an effective tool an understanding of the way each society views colour.
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