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"Color Terminology."
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The universe in 100 colors : weird and wondrous colors from science and nature
\"This book aims to highlight 100 incredibly interesting colors that the average human could live their life unaware of. These colors exist in the strangest of places, and serve the most specific functions in nature, or were human-made with one particular goal in mind\"-- Provided by publisher.
BOOK
Progress in Colour Studies : cognition, language and beyond
This volume presents authoritative and up-to-date research in colour studies by specialists across a wide range of academic disciplines, including vision science, psychology, psycholinguistics, linguistics, anthropology, onomastics, philosophy, archaeology and design.
eBook
New Directions in Colour Studies
What computation does the human brain perform when we experience 'red', 'green', 'yellow', or 'blue'? Where in the visual pathway does the human visual system combine the retinal cone signals (L, M, S) to yield these fundamental colour sensations? Behavioural data show that the four unique hues (red, green, yellow, blue) do not map onto the cone-opponent mechanisms (i.e. L-M; S-(L+M)) found in the Lateral Geniculate Nucleus, a subcortical structure involved in early visual processing. The brain imaging experiment supports the behavioural result: using pattern classification algorithms applied to fMRI brain activation patterns we show that unique hues cannot be classified in the LGN, but we achieve above chance classification in primary visual cortex (V1). Our imaging data provide strong evidence that the unique hues do not originate in subcortical areas, but in the visual cortex, possibly as early as primary visual cortex.
eBook
Anthropology of color : interdisciplinary multilevel modeling
The field of color categorization has always been intrinsically multi- and inter-disciplinary, since its beginnings in the nineteenth century. The main contribution of this book is to foster a new level of integration among different approaches to the anthropological study of color. The editors have put great effort into bringing together research from anthropology, linguistics, psychology, semiotics, and a variety of other fields, by promoting the exploration of the different but interacting and complementary ways in which these various perspectives model the domain of color experience. By so doing, they significantly promote the emergence of a coherent field of the anthropology of color.
eBook
Reviving Dead Leaf: Understanding Historical Color Terminology Through Reconstruction
The terms fillenoert, villemort, feulje mort, and fillemot are obsolete historical color names derived from the French feuille morte (dead leaf), referred to a broad spectrum of brownish, yellowish, greenish, and reddish hues in early modern textile dyeing. This study investigates the visual identity and chromatic range of dead leaf by reconstructing dye recipes from seventeenth- and eighteenth-century European dyeing manuals. Using historically accurate materials and techniques, wool samples were dyed and analyzed through CIELAB color measurements to quantify their hue values. The results reveal that dead leaf does not correspond to a single, fixed color but represents a flexible and metaphorical category, reflecting both the natural variation in dead foliage and the diversity of historical dyeing practices. In early modern Europe, colors were often descriptive, frequently referencing the natural world or objects. These descriptors offered a nuanced vocabulary that extended far beyond today’s basic chromatic terms. Reworking these recipes reveals the complex interplay between chromatic language, material practices, and color perception. Historical color names served not merely as labels but encoded information about dye sources, cultural associations, and socio-economic contexts. Understanding and reviving this terminology deepens our appreciation of early dyeing traditions and bridges past and present conceptions of color.
Journal Article
Colour terms in the Old Testament
The OT semantic field of 'colour' is presented as a coherent, interdependent, and graded linguistic structure.The relevant lexical items are organized under the following categories: primary (basic) terms; secondary and tertiary terms; terms for pigments, dyes, painting and paints; and terms for stains, speckles, and other phenomena related to.
eBook
Colour terminology in Sukuma: lexical patterns, ecological salience, and cultural usage
This study examines colour terminology in the Sukuma language spoken in Tanzania, with particular emphasis on lexical patterns, ecological salience, and cultural usage. The study adopted a qualitative descriptive design, with data collected from 12 Sukuma speakers through elicitation, interviews, and documentary review. Data were transcribed, translated and coded according to lexical categories of colour terminology. Purposive sampling was used to select Kwimba District as the study site, while snowball sampling facilitated the identification of key informants, including traditional healers, chiefs, and elders. Guided by Cognitive Semantics and the Basic Colour Terminology Model, the findings identify ten basic colour terms in Sukuma: pe ‘white’, pi ‘black’, za ‘red’, bhululu’blue’, lʊdʊʊtʊ ‘green’, lʊdingʊ ‘yellow’, bhʊgolo ‘brown’, mabhu ‘grey’, nzulunge ‘purple’, and ichʊngwa ‘orange’, approximating Stage VII of Berlin and Kay’s evolutionary framework, with pink colour not attaining the status of an independent basic term. The results further show that Sukuma colour terms are grounded in the natural environment and cultural referents. They are widely used across various cultural contexts, including standardised biblical texts, reflecting the integration of colour in the spiritual and everyday life of the Sukuma people. Overall, the study demonstrates the interplay between linguistic categorisation, perception, and cultural context.
Journal Article
An Unknown 18th-Century Flemish Dyers Manuscript from Antwerp (1778–1802)
This paper presents a historical analysis of a rare dyer’s manuscript, preserved within the Museum of Industry in Ghent, Belgium. The manuscript, originating from a dyer in late 18th-century Antwerp, includes an extensive collection of recipes. The study will enable researchers to better grasp the practices of traditional dyeing techniques and materials in the region during that time. The manuscript focuses primarily on the dyeing of woolen fabrics. Approximately 90 of the 132 recipes utilize red dyes. Recipes for dying orange, brown, black, blue, and green colors are also described. The document mentions the use of madder, brazilwood, redwood, and cochineal. To create a variety of red shades, the dyer describes how fabrics were treated with different mordanting compounds, with alum and tin as the main ingredients, and how the dyeing solutions were prepared. The resulting colors include ‘madder red’, ‘formal red’, ‘crimson’, ‘scarlet’, ‘Turkish red’, ‘fire color’ and ‘flesh color’. In addition to the dyeing recipes, the manuscript contains various accounting documents and correspondences between the dyer, customers, and suppliers. Lastly, over 100 original, colored samples are attached to the described recipes. In this paper, the artifact’s contents will be disclosed, comprising recipes with attached samples and correspondence. Findings resulting from archive research will be included, contextualizing and placing the dyer in their urban and social context. The paper concludes by discussing its potential limitations and provides avenues for possible future research.
Journal Article
Colour studies : a broad spectrum
The Jacobean artificial light - candlelight - was as important to the playwright as lighting effects are to a modern-day designer. This chapter explores the recreation of candlelight using a safe alternative, the most modern of technology and the future of stage lighting: LEDs. In order to recreate the candlelight of Shakespeare's stage, the research is categorized into three sections: replicating the Jacobean stage accurately, achieving a colour match for the tallow candles using LEDs and creating the ambience and \"flicker\" a candle emits. This is then applied practically and allowed a play to be seen authentically and uniquely whilst also revealing interesting results from experimental data.
eBook
Ulisse Aldrovandi's Color Sensibility: Natural History, Language and the Lay Color Practices of Renaissance Virtuosi
Famed for his collection of drawings of naturalia and his thoughts on the relationship between painting and natural knowledge, it now appears that the Bolognese naturalist Ulisse Aldrovandi (1522-1605) also pondered specifically color and pigments, compiling not only lists and diagrams of color terms but also a full-length unpublished manuscript entitled De coloribus or Trattato dei colori. Introducing these writings for the first time, this article portrays a scholar not so much interested in the materiality of pigment production, as in the cultural history of hues. It argues that these writings constituted an effort to build a language of color, in the sense both of a standard nomenclature of hues and of a lexicon, a dictionary of their denotations and connotations as documented in the literature of ancients and moderns. This language would serve the naturalist in his artistic patronage and his natural historical studies, where color was considered one of the most reliable signs for the correct identification of specimens, and a guarantee of accuracy in their illustration. Far from being an exception, Aldrovandi's 'color sensibility' spoke of that of his university-educated nature-loving peers.
Journal Article