The bright pinkish red of the background on Ming Lab’s website is inviting and passionate. Examples The bright red of the illustration on the homepage of Nacache Design’s site gives the page a ton of energy and vibrancy. ![]() Red can be very versatile, though, with brighter versions being more energetic and darker shades being more powerful and elegant. It’s a great color to use when power or passion want to be portrayed in the design. It can have an overwhelming effect if it’s used too much in designs, especially in its purest form. In design, red can be a powerful accent color. Red has become the color associated with AIDS awareness in Africa due to the popularity of the campaign. In South Africa, however, red is the color of mourning. In other eastern cultures, red is worn by brides on their wedding days. It can also be used to attract good luck. For example, in China, red is the color of prosperity and happiness. 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.The innovative aesthetic attitude that they developed in both theory and practice rested on a philosophical foundation that was deeply rooted in occult and esoteric ideologies and their quest for new directions and forms of expression in art was paralleled by an intensive religious searching. But they were not merely looking for new kinds of subject matter in order to ‘shock the bourgeoisie’. Instead of copying a tangible reality as it appeared to their eyes, they turned inward, towards the world of dreams, fantasies and nightmares, visions and hallucinations, ancient myths and fairy tales. The artists of this new movement were no longer satisfied with the old ‘window on the world’ paradigm. The aim is to demonstrate that central Symbolist principles, such as inwardness, intuition, and dematerialisation are linked with popular esoteric beliefs, and that the late nineteenth-century aesthetic theorisations of these issues have had significant effects on later artistic developments. This article looks into the background of this phenomenon, locating a point of culmination in the new Symbolist direction of art that emerged towards the end of the nineteenth century. ![]() ![]() One central issue which has gradually surfaced into broader consciousness, is the impact of occult and esoteric ideas on artistic theories and practices since the late nineteenth century. It has become apparent that the value judgements that have guided modernist historiography can no longer be taken for granted, and there has been an ever-increasing demand for more diverse perspectives. Within the past couple of decades, art-historical scholarship has developed a more acute awareness of the need to reassess and re-evaluate its dominant narratives.
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