MA Graphic Design Major Project Proposal

Colourful Language
Major Project Proposal
MA Graphic Design
Part Time
Unit 2.4
Eleanor Maclure
the names of colours, in themselves, have no precise

chromatic content: they must be viewed within the general
context of many interacting semiotic systems.
Batchelor (2000, pp.90)
MA Graphic Design
Part Time
Unit 2.4
Colourful Language
Eleanor Maclure
Colourful Language
...How it is possible
for us accurately to
represent colours
to each other, when
verbal language has
proved itself entirely
insufficient.
Introduction
The Optical Society of America suggests that the

human eye can identify between 7.5 and 10 million
distinct colours (Wershler-Henry, 2001). The average
adult has a vocabulary of up to 50 000 words (Gall,
2009) and although continuously growing, the
estimated number of words in the English language
is one to two million (Gall, 2009). If every word in the
English language was used, we still would only be
able to give names to around one tenth of the colours
we can recognize.
This is but one of the problems of using language
to describe and define our experience of colour. As
discussed by a number of writers and philosophers,
David Batchelor in Chromaphobia, in particular,
language often proves itself wholly inadequate. There
are no standards of individual colour perception as
colours vary with context, surface texture and viewing
conditions. Colour terms are imprecise and have no
chromatic content in themselves and there is no way
of knowing that my notion of a particular hue is the
same as anyone elses. Trying to devise a system
based on language, to accurately define colours is an
impossible task.
Despite this we use language to reference colour
all the time, we have too. Often there is no other
available means of referring to the particular hue we
are trying to describe. Even though the language
system we use to talk about colour is inherently
flawed, it does not mean that it does not warrant
study and analysis to enable greater understanding.
Research Question
To attend to colour, then,

is, in part, to attend to the
limits of language, what a
world without language
might be like
Batchelor (2000, p.79)
Research Question
How We Talk about Colour:

Observing the way we use language to describe colours.
To fall into colours is

to run out of words
Aims and Objectives
The fundamental aim of this research project is to

contribute to the understanding of how language
is used to express colour, through observations,
quantitative research, analysis and visual
representation.
My initial motivations for choosing this subject were
predominantly personal. My interest in how people
talk about colour stems from a range of sources;
discussions about re-branding at my previous
employer, the way colours are described in fashion
trend reporting (See Fig. 1 & 2, Appendix B), and the
fact that people have endless disagreements over
the colour of some objects due to our subjective
experiences of colour (Fig. 3 & 4, Appendix B).
The relationship between colour and language and
the problems of using language to describe colour
are well documented. Colour stretches the limits
of our descriptive abilities and consequently our
language.
While there is evidently a problem (outlined in greater
detail in Context) this project does not propose to
solve it. Several thousand years of philosophy have
failed to produce an adequate theory or model
of colour and some aspects of the problematic
relationship of colour to language are beyond the
realms of plausible solutions, due to the nature of
verbal language itself.
The discourse on colour and language, through

philosophy, linguistics and even fine art exists largely
as text, resulting in the discussion of a subject,
entrenched in our visual culture, using a system of
communication widely acknowledged as utterly
deficient in describing it.
Therefore, what this project does aim to achieve is
a contribution to the understanding of the problem
through visual documentation and representation, to
use graphic design to show what the relationships
between colours and their names look like.
what does it mean to divide

colour into colours? Where
do the divisions occur? Is it
possible that these divisions
are somehow internal to
colour, that they form
a part of the nature of
colour? Or are they imposed
on colour by conventions of
language and culture?
Audience
Colour is a potent tool for designers. We use it to

brand, map, chart, code, define and differentiate.
Being able to verbally communicate the colours we
perceive and understand how our audience thinks
and talks about colour has undeniable value. By
seeking to contribute to the understanding of the
relationship between colour and language through
visual representation, I hope to create greater insight
and awareness of how people talk about colour
and add to the body of research into design and
communication.
The relevance of this research project is not confined
to graphic design; it also has meaning for other
design and visual communication disciplines including
marketing, branding, colour reproduction, trend
forecasting and fashion. It could also benefit those who
use colour as an aspect of communication and who
need to be able to communicate about colour, such as
in architecture, interior and product design.
Ultimately, we live in a visually stimulating world,
and due to advances in technology, one particularly
saturated in colour. Apart from the visually impaired,
colour touches us all. We all see it, whether or not
we truly notice it, we all use language to describe it,
whether in great detail or with just a few basic terms
and quite a few of us argue over it. So although this
project is not primarily aimed at the wider population,
from research conducted thus far, it is evident
that there is a significant interest in colour and its

relationship to culture among the visually literate public,
particularly prevalent in blogging (See Fig. 3 & 4,
Appendix B), creating the potential for broader appeal.
In addition, to this I would like to contribute to the
field of study and existing body of research and
knowledge on colour naming. In that respect I hope
to find an audience in those who also are studying
colour naming, or who have an interest in linguistics,
semiotics, colour theory, culture, the visual arts,
perception, philosophy or the general advancement
of knowledge, learning and understanding.
Basic colour terms

may be universal, but
they are useless
when it comes to the
study of colour.
Context
The subject of this research project lies where two

different fields of study coincide: colour theory and
linguistics. Both these areas of research have a long
history and include many concepts and theories.
Colour theory alone bridges a wide range of disciplines
from; physics and optics, to the visual arts, to biology
and neuroscience. To further define the project I will be
narrowing my research to the general areas of colour
perception, semiotics and naming, with the particular
focus of my proposal being the names of colours, as
indicated by the Research Question.
Both fields of study already have well-established
bodies of knowledge and research. General research
into colour will provide background information for my
investigation, as will research into how we see colour
and colour reproduction. Issues in these areas will
influence my visual research and methods of collecting
quantitative data so need to be acknowledged.
Linguistics is also a substantial field of study. To
contain the scope of the background research I will
only include linguistic concepts, such as semiotics
when relevant to the research question. The
Proposed Reading List, at the end of this document,
will help me to identify other linguistic theories, which
may support my investigation.
There has been much written about colour in
philosophy, notably by Pythagoras (570-c. 495 BC)
on colour harmony, Plato (427 - 347 BC) on colour
perception, and Aristotle (384-322 BC) on colour
mixing. Other theories of colour were later developed,
through painting by Leonardo da Vinci (Treatise on
Painting) and scientific methods, by Sir Isaac Newton

in 1666. More recent philosophical works have
included writing on the complex relationship between
colour and language, in particular Goethes Theory
of Colours (1810), Wittgensteins Remarks on Colour
(1977) and Hardins Colour for Philosophers (1988).
There also exists a sizeable body of research
specifically on colour naming. A significant amount
has been carried out by Paul Kay (co-author of the
Berlin-Kay hypothesis) with others, since the late
1960s, including the World Colour Survey. There
are also currently a number of online colour naming
projects including colour naming experiments by
Nathan Moroney, for Hewlett-Packard, cumulating in
The Colour Thesaurus (see Fig. 5 & 6, Appendix B)
and An Online Colour Naming Model by LCC MSc.
Digital Colour Imaging student Dimitris Mylonas.
Much of this research has a significant cross-cultural
component and although colour naming across
different language systems is a rich area of study, it is
a whole subject in itself and too extensive to include
in any detail as it raises problems of translation and
cultural sensitivity. Therefore I intend to confine my
research to colour naming in the English language,
and only refer to cultural differences when particularly
significant.
The current research in the areas of colour naming
and colour perception revolves around a number
of debates, including, in colour naming: Linguistic
Relativity versus Universalism. Does language
condition how we see colour or is it a purely biological
11
Wittgenstein asked: How

do I know this colour is
red? To which he replied:
because I have learned
English.
Batchelor (2000, p.91)
12
mechanism? In colour perception: Objectivism versus

Subjectivism. Is colour subjective or objective? Does it
appear in the perceived object or in the subjects eye?
These debates, and others, are very much
unresolved and are unlikely to be settled without a
great deal more research, if at all. This is one of the
reasons that I have specified from the outset of this
proposal that this project is not an attempt to solve
the problems involved in using language to describe
colour. From the research already undertaken I have
been able to identify some of the key aspects of this
problem, which will facilitate my visual investigations
into the subject:
1. The names of colour have no chromatic content
so there is no consensus on what exact hue a
particular name refers to. If an author writes the
word blue in a text, they will never know if the
reader fully understood what hue they meant by
that colour term.
2. Language is inadequate in describing the range of
colours we are able to optically identify because
there simply arent enough words in the English
language.
3. We lack the ability to use language to identify the
vast range of hues in the world around us precisely
and often resort to pointing to a similar colour or
improvising using descriptions of other objects
such as milky tea coloured
4. The way we see colour is subjective but we cannot
convey that with language. We all see slightly
differently but we must use the same words
to communicate that experience otherwise we
cannot be understood.
5. Although language is limited in describing colour

there are still several thousand colour names, yet
we predominantly use a small collection of basic
terms to describe a vast range of experiences. In
English there are eleven basic colour terms.
6. There is often a lack of understanding of what hue
less common colour names refer to, for example
puce, taupe and mauve.
7. By using language to define and describe colours
we attach a whole host of connotations and
cultural meanings to a hue, so it is incredibly
difficult to talk about a colour objectively as pure
chroma, detached from meaning.
8. There is no way of explaining colours or a particular
colour to someone who has never seen it.
Some of the problems listed above have already been
addressed in some way, either through philosophical
writing such as those by Wittgenstein and Hardin or
the development of an alternative system to language.
The imprecision of colour terms has been tackled
by Albert Munsell creator of the Munsell Colour
System, who described colour names as foolish and
misleading (1905, pp.9) and the Pantone Matching
System, both of which employ numeric methods
to define colours. However, these systems are only
applicable in certain contexts and are impractical for
everyday conversation. They fail to capture the extent
to which we experience colour.
Although the focus of my research is not directly
related to graphic design itself, both colour and
language are key aspects of graphic design and vital
tools for a graphic designer. They are entrenched
in our design practice and hugely influential on our
communications. The difficulty with colour naming

is, ultimately, a communication problem, albeit a
potentially unsolvable one.
A small minority of colour naming experiments have
a visual component as part of their output. The visual
outcome of research by Nathan Moroney, the Colour
Thesaurus (Fig. 5 & 6, Appendix B), is one example of
this, however it is limited in its use of graphic design
and data visualisation methods. From my research
only a project by Crowd Flower (formally Dolres Labs),
which resulted in an interactive colour label explorer,
utilises information design techniques in a way that
enhances the understanding of the data. This was
particularly evident in the visualisations posted on
their blog (http://blog.crowdflower.com) after the data
was released into the online community; see Fig. 7 &
8, Appendix B.
As described in Aims and Objectives, a
disproportionate amount of the research that exists
on colour naming is written discourse not visual
representation. Therefore, the relationship of this
project to graphic design is in the usage of design
methods to visually represent research in an area
where two fields closely related to graphic design
coincide.
13
14
Action Plan
Structure of The Major Project

Title
Colourful Language
Field of Study
Colour Theory
Linguistics
Colour Perception + Naming

16
Focus
Colour Naming
Research Question
Graphic Design
Fine Art
Philosophy
Semiotics
Communications
Marketing
Psychology
Neuroscience
Biology
Optics
Physics
Methodology
How We Talk about Colour

Observing the way we use language to describe colours
Audience
Context
Aims & Objectives
Formal & Informal

Colour Naming
Commercial Colour
Naming
Unit 2.3
Design & Rhetoric
Primary Research
Secondary Research
Quantitative
Visual
Further Reading
Evaluation
Output
Print
Typographic Book
Submission
Information Design
Research Blog + Visual Summary +

Major Project Report + Outputs
Bibliography
Action Plan
The research methodology for this project will largely

be based on using carefully constructed surveys
to collect primary data. These will then be collated
and analysed, before being visually interpreted using
information design and data visualisation techniques.
These techniques will also be researched, through
secondary sources, as will suitable quantitative data
collection and best practices for surveying
The other key components of my research plan are
to collate and typologies the research I have already
collected from a variety of sources thus far, and to
complete the relevant background reading that I have
identified.
The Schedule of Works on the following pages shows
an approximate representation of the timings and
duration of each planned research activity and a more
detailed and comprehensive description of the Action
Plan can be found in Appendix A.
17
Schedule of Work
The schedule below indicates the order and timings
of activities as described in the detailed Action Plan
(Appendix A, week by week). It may transpire, as the
project develops, that additional research is required
in a particular area or that planned research is no
longer relevant. However the stages of the project
should largely stay constant and the progress of
each research activity will be checked against the
Schedule throughout the project.
Unit 2
Submission
18
Week Number
Jan
31st
Background Reading
Collection of Colour Names
Typologising Colour Names
Devising Surveys
Administering Surveys
Collating Survey Results
Analysis of Survey Results
Visual Representation of Survey Results
Visit SDC Colour Experience in Bradford
Visit British Library
Other Primary Research Activities
Other Secondary Research Activities
Documentation of Research on Blog
Documentation of Research in Visual
Summary
Research for Report
Production of Outcomes
Collation of Research for MP Report
Report Writing
Printing and Preparation for Submission
Feb
7th
14th
21st
21st
28th
Mar
28th
7th
14th
Progress
Crit
10
11
12
13
14
15
April
4th
11th
18th
16
17
18
19
May
25th
2nd
9th
16th
20
21
22
23
June
23rd
30th
6th
13th
20th
24
July
27th
4th
11th
19
Schedule of Work Continued
20
Week Commencing
25
26
27
28
July
18th
Background Reading
Collection of Colour Names
Typologising Colour Names
Devising Surveys
Administering Surveys
Collating Survey Results
Analysis of Survey Results
Visual Representation of Survey Results
Visit SDC Colour Experience in Bradford
Visit British Library
Other Primary Research Activities
Other Secondary Research Activities
Documentation of Research on Blog
Documentation of Research in Visual
Summary
Research for Report
Production of Outcomes
Collation of Research for MP Report
Report Writing
Printing and Preparation for Submission
25th
29
30
31
32
Aug
1st
8th
15th
33
Sep
22nd
29th
5th
12th
Progress
Crit
34
35
36
Report First
Draft
37
Sep
19th
26th
38
39
Final
Submission
40
Oct
3rd
10th
17th
41
Nov
24th
31st
7th
21
If colour is indivisible, a
continuum, what sense
can there be in talking of
colours? None, obviously
except we do it all the time
Batchelor (2000, pp. 85)
Evaluation
I intend to employ critical reflection as the primary

method of evaluation for the project. Given that the
project is research through design into a subject
related to it, rather than into a practical design
problem, this is the most appropriate form of
evaluation. This will also be supported by feedback
from peers and tutors, which could be facilitated
through my research blog. The blog will be made
public, which may also invite engagement from the
wider research community, creating the potential
for diverse sources of feedback. I also intend to
compare aspects of my research with other similar
research projects, such as the Online Colour Naming
experiment as part of the basis for my critical
reflection.
23
Such basic colour

terms as we have, to
put it another way, even
terms like colour,
are the products of
language and culture
more than the products
of colour.
Output
While some aspects of this project may lend

themselves quite well to a multimedia, motion
graphics or online output, I do not possess the
technical proficiency necessary to execute screenbased outcomes competently. As a consequence I
am specifying a print based outcome from the start,
as attempting to learn additional technical skills and
software would be too greater burden to the project
and would compromise the time, resources and effort
needed for the execution of the project as a whole.
Producing a print based output will still provide
me with some opportunity for acquiring technical
knowledge as a by-product of production. Despite
having a good understanding of the print process
there is still much I can learn about design for print,
of which colour perception and accurate colour
reproduction play a significant part.
Given the research question I have outlined and
context provided, I envisage breaking down the
project into a series of sub-projects to address
different aspects of the relationship between colour
and language. Each of these could potentially have
some sort of visual outcome, the combination of
which would represent the collective output of the
project. In this instance the body of work would be
united through the research presented in the major
project report and visual summary.
Alternatively, one aspect of the project may become

more dominant. Therefore I have not dismissed the
option of producing one outcome to represent the
culmination of all the research for the project, which
would likely take the form of a book, for example a
dictionary of colour.
I anticipate any outcomes produced for this project
are likely, at least in some part, to be typographic
and/or include information design in order to
present research findings, analysis and conclusions,
particularly of the quantitative research outlined in the
action plan. See Fig. 9, 10 & 11, Appendix B for visual
references.
In addition, all potential outcomes will be supported by
an edited visual summary and a research blog.
25
Appendices
Appendix A
Detailed Action Plan
28
I have already completed a significant amount of

background reading for the Major Project in the
course of preparing this proposal and for Unit 2.3
Design and Rhetoric. In addition, I have been able to
identify a comprehensive list of key texts as proposed
further reading, which will greatly support my
understanding of the relationship between language
and colour. It is possible that not all of the texts will be
read in full, due to the time constraints of the project.
Texts most relevant to the research will be given
priority. For the list of texts, please see Proposed
Reading List.
I have identified other areas of background research
needed to support the project. These include
gaining a better understanding of colour perception
in humans and general colour theory, reading into
semiotics, research into information design, data
visualization and good practices for quantitative
data collection. Additional sources of research will
include visiting The Society of Dyers and Colourists
(SDC) Colour Experience museum in Bradford and
attending any relevant talks, lectures and exhibitions
in London, beginning with Evolving English at the
British Library in February. Other further reading and
internet research is included in the Proposed Reading
List.
I have already gathered a significant body of
secondary sources to support my growing
knowledge of colour and language, as mentioned
above. Some of this material will be used to compile
an extensive list of colour names. I will exclude names
from commercial sources, for example the names
of paint colours. Following this I will typologise them

into the eleven basic colour terms used in English,
and look at which hues are difficult to categorise. I
will consider why they do not fit and look for patterns
and similarities. I will also look at which hues have
the most and least associated colour terms, whether
the terms are abstract or descriptive and what this
typology means and how it appears visually. This will
help support my primary research and visual work
and provide a basis for comparison of survey results
To address the Research Question and problems
outlined in Context, I intend to conduct a series
of carefully devised surveys. I anticipated that this
research will be predominantly quantitative, with the
surveys designed to be straightforward and simple
to encourage participation, possibly built in Survey
Monkey or a similar alternative. They will mostly likely
be administered online (through Facebook, email,
and blog sites), if the problems of viewing colours
on screen can be resolved satisfactorily or a level
of tolerance accounted for within the results. This
research is likely to form a significant part of the
primary data I collect.
These surveys will include looking at the extent of
colour vocabulary, in which I will ask people to list
as many colour terms as they can think of and then
list as many informal, descriptive ways of referring to
colour as they can, for example ice-cream coloured.
Concurrently I will collect demographic data on age,
gender, whether English is their first language (if
not what language is), what their favourite colour is,
how much time they spent on the task (in minutes)
and whether they work or have studied in the visual

arts, to enable me to make comparisons based on
age, gender (as women are, on average better at
both language skills, and perceiving colour), visual
communicator versus non-visual communicator (do
designers have bigger colour vocabularies?) and
native speaker versus non-native speaker.
I will also collate the most frequently listed colours
from the results, to see how they relate to the basic
colour terms in English and look at which are abstract
and which are descriptive colours.
Another survey will ask people to describe the hue
of some uncommon colour terms. For example what
colour puce? This could be done through relating it
to a combination of basic colour terms, for example
purpley-red. If possible it would be preferable to
construct a survey where this could be done visually,
through digital colour picking so that RGB values
could be obtained. In opposition to this I will also
present people with ambiguous swatches and ask
them to name the colour. The responses can then be
compared to see how much consensus there is and
how precise people are able to be.
How do we know what is red? Using a series of
colour swatches of similar hues I will ask what
people identify as the most archetypal example of
that colour, to see if there is a consensus for the
chromatic meaning of colour terms, for all of the
eleven basic colour terms in English. I will be able to
compare these with the RGB values for the swatches
and possibly create averages based on the results.
To look at the idea of subjectivity in colour naming

and perception I intend to research how people
argue about colour. For example, when one person
maintains a jacket is yellow and the other person
insists that it is green. What colours do people argue
about? Are there patterns and commonalities? How
does this relate to the boundaries between colours
and the linguistic categories we put them in?
In addition to this primary research I will investigate
the linguistics origins of some colour names, most
likely through online sources. This research is already
underway, although I have yet to establish how far I
will extend this task. I will also research the cultural
meanings of different colours in Western culture,
focussing on the eleven basic colour terms, in order
to investigate the connotations of different colour
names.
I will also collect linguistic phrases, clichs and
metaphors that employ a colour term to communicate
a visual idea through verbal language, for example
green with envy, white goods, purple with rage, in
order to look at how people evoke colour in language
to create meaning, emphasis and convey mental
pictures.
Further to this I want to look at what colour we label
our mental images, are roses red for all of us, do we
always picture grass as green? If so does this come
from cultural conditioning, mental schemas or the
local colours of objects, even if that reality is rarely
true? To investigate this I will use a survey to ask
people what colour they would label common objects
29
30
(such as an apple, duck, the sea) as a instinctive

reaction. I will use the results to ascertain if there are
commonalities in peoples responses.
I also hope to generate visual research and
supporting material as part of the project using
photography and photo-manipulation techniques and
look at data visualisation techniques and information
design to successfully visualize the results of my
survey.
The data collected will ultimately be represented
visually using graphic design, with references for
this aspect of the project being the Colour Naming
Thesaurus (Fig. 5 & 6, Appendix B), the research
and colour label explorer by CrowdFlower (Fig. 7
& 8, Appendix B), other examples of information
design, for example those shown in Figs. 9, 10 & 11 in
Appendix B and the websites www.emotionallyvague.
com, www.wefeelfine.org and www.visualcomplexity.
com. A project by Professor Axel Venn and Janina
Venn-Rosky, recently published in the form of the
book The Colour Dictionary will also be a useful to
reference, despite the focus of their research being
slightly different, see Fig. 12 & 13, Appendix B.
Alongside the specific research activities outlined
above, throughout the course of the Major Project
I will be recording my research in my supporting
material, visual summary and on my research blog. I
will also be collating research to include in the Major
Project report and allocating time towards the end
of the project for writing the report and producing
outcomes, as outlined in the Schedule of Work.
Appendix B
List of Figures
Fig. 1 Article about the colour of Michelle Obamas Dress.
SMITH, H., 2010. Race row over nude White House Dress. The Metro, 21 May. pp.32.
Fig. 2 Comment on Neutral Colour Trends in 2010.
BLISSETT, B. 2010. Greige is the new nude, girls. The Metro, page & date unknown.
Fig. 3 Blog post about an argument over the colour of a car.
Sheri, 2010. Colour: Is it a cultural thing? Things and Stuff Blog [blog] 22 October Available at: <http://aaronandsheri.
wordpress.com/2010/10/22/colour-is-it-a-cultural-thing/> [Accessed 22/10/10].
Fig. 4 Image of the car described in the above post.
Sheri, 2010. Colour: Is it a cultural thing? Things and Stuff Blog [blog] 22 October Available at: <http://aaronandsheri.
Fig. 5 Cover of the Colour Thesaurus by Nathan Moroney.
MORONEY, N., 2008. The colour thesaurus. June ed. Hewlett-Packard Laboratories: Magcloud.com.
Fig. 6 Example of a typical page from the Colour Thesaurus.
MORONEY, N., 2008. The colour thesaurus. June ed. pp.10. Hewlett-Packard Laboratories: Magcloud.com.
Fig. 7 Colour Label Explorer by CrowdFlower.
OCONNER, B., 2008. Where does Blue end and Red begin? The CrowdFlower Blog [blog] 17 March, Available at:
<http://blog.crowdflower.com/2008/03/where-does-blue-end-and-red-begin/> [Accessed 19/12/10].
Fig. 8 Visualisation by Martin Wattenberg from IBM Research of data released by CrowdFlower.
CLARKE, J., 2008. Colour Names Explorer. Neoformix Blog [blog] 27 March, Available at: <http://www.neoformix.com/2008/
ColorNamesExplorer.html> [Accessed 19/12/10].
Fig. 9 The In Colours in Womens fashion.
MCCANDLESS. D., 2010. Information is beautiful. London : Collins, pp.32-33.
Fig. 10 The meanings of colours in different cultures around the world.
MCCANDLESS. D., 2010. Information is beautiful. London : Collins, pp.76.
Fig. 11 Food colourings linked to adverse health effects.
MCCANDLESS. D., 2010. Information is beautiful. London : Collins, pp.119.
Fig. 12 Cover of The Colour Dictionary.
VENN, A., & VENN-ROSKY, J., 2010. The colour dictionary, the colourfulness of the words. Munich : Callwey Verlag.
Fig. 13 Example spread from The Colour Dictionary.
VENN, A., & VENN-ROSKY, J., 2010. The colour dictionary, the colourfulness of the words. Munich : Callwey Verlag, page
unknown.
31
Appendix B
Visual References
32
Fig. 1 Article about the colour of Michelle Obamas Dress.

Fig. 2 Comment on Neutral Colour Trends in 2010.

BLISSETT, B. 2010. Greige is the new nude, girls. The Metro, page & date unknown.
33
Fig. 3 Blog post about an argument over the colour of a car.

Sheri, 2010. Colour: Is it a cultural thing? Things and Stuff Blog [blog] 22 October Available at: <http://
aaronandsheri.wordpress.com/2010/10/22/colour-is-it-a-cultural-thing/> [Accessed 22/10/10].
Fig. 4 Image of the car described in the above post.

Sheri, 2010. Colour: Is it a cultural thing? Things and Stuff Blog [blog] 22 October Available at: <http://
aaronandsheri.wordpress.com/2010/10/22/colour-is-it-a-cultural-thing/> [Accessed 22/10/10].
34
Fig. 5 Cover of the Colour Thesaurus by Nathan Moroney.

Fig. 6 Example of a typical page from the Colour Thesaurus.

MORONEY, N., 2008. The colour thesaurus. June ed. pp.10. Hewlett-Packard Laboratories:
Magcloud.com.
35
Fig. 7 Colour Label Explorer by CrowdFlower.

OCONNER, B., 2008. Where does Blue end and Red begin? The CrowdFlower Blog [blog] 17 March,
Available at: <http://blog.crowdflower.com/2008/03/where-does-blue-end-and-red-begin/> [Accessed 19/12/10].
Fig. 8 Visualisation by Martin Wattenberg from IBM Research of data released by CrowdFlower.
CLARKE, J., 2008. Colour Names Explorer. Neoformix Blog [blog] 27 March, Available at: <http://www.
neoformix.com/2008/ColorNamesExplorer.html> [Accessed 19/12/10].
36
Fig. 9, Fig. 10 & Fig. 11 Examples ways of visualising colour-related data.

MCCANDLESS. D., 2010. Information is beautiful. London : Collins. pp.32-33, 76 and 119, respectively
37
Fig. 12 Cover of The Colour Dictionary.

VENN, A., & VENN-ROSKY, J., 2010. The colour dictionary, the colourfulness of the words. Munich : Callwey
Verlag.
Fig. 13 Example Spread from The Colour Dictionary.

VENN, A., & VENN-ROSKY, J., 2010. The colour dictionary, the colourfulness of the words. Munich : Callwey
Verlag, page unknown.
References
38
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MUNSELL, A. H., 1905. A Color Notation. Boston: G. H. Ellis Co.
WERSHLER-HENRY, D., 2001. Colours/Ruby (and beyond). Cabinet Magazine, Issue 4, pp.16-18.
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43
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45
Proposed Reading List
46
ALBERS, J., 2006. Interaction of colour. New Haven : Yale University Press.
ANDERSON FEISNER, E., 2006. Colour : how to use colour in art and design. London : Laurence King.
BATCHELOR, D. ed. 2008. Colour. Cambridge, Mass. : MIT Press.
BERLIN, B. & KAY, P., 1999. Basic colour terms : their universaility and evolution. Stanford : Center for the Study of
Language and Information.
GAGE, J., 1999. Colour and meaning: art, science and symbolism. London : Thames & Hudson.
GAGE, J., 1999. Colour and culture: practice and meaning from antiquity to abstraction. Berkeley : University of California
Press.
GIBSON, J., 1968. The senses considered as a perceptual system. London : George Allen & Unwin.
GOETHE, L. W., 2006. Theory of colours. Mineola, N.Y. : Dover.
HARDIN, C. L., 1988. Colour for philosophers. Indianapolis : Hackett Publishing Company.
HARDIN, C. L., 1997. Colour categories in thought and language. Cambridge : Cambridge University Press.
HARRIS, J., & KAMVAR, S., 2009. We Feel Fine: An Almanac of Human Emotion. New York : Scribner.
KLANTEN, R., ed. 2008. Data flow: visualising information in graphic design. Berlin : Gestalten.
KLANTEN, R., ed. 2010. Data flow 2 : visualising information in graphic design. Berlin : Gestalten.
MAERZ, A., & PAUL, R. 1953. A dictionary of colour. New York : Crowell.
MCCANDLESS. D., 2010. Information is beautiful. London : Collins.
PATERSON, I., 2004. A dictionary of colour : a lexicon of the language of colour. London : Thorogood.
RUNGE, P. O., 2010. Color sphere. New York : Princeton Architectural Press.
SCHOPENHAUER, A., 2010. On vision and colors. New York : Princeton Architectural Press.
TUFTE, E.R., 1990. Envisioning information. Cheshire, Conn. : Graphics Press.
TUFTE, E.R., 2001. The visual display of quantitative information. 2nd ed. Cheshire, Conn. : Graphics Press.
VENN, A., & VENN-ROSKY, J., 2010. The colour dictionary. the colourfulness of the words. Munich : Callwey Verlag.
WITTGENSTEIN, L., 1979. Remarks on colour. Oxford : Blackwell.
Websites
http://www.visualcomplexity.com/vc/
http://www.informationisbeautiful.net/
http://flowingdata.com/
http://www.guardian.co.uk/news/datablog
http://infosthetics.com/
http://wefeelfine.org/
http://www.emotionallyvague.com/
http://www.colourphon.co.uk/
http://www.edwardtufte.com/tufte/
http://www.pantone.com
http://www.colour-journal.org/
http://www.sdc.org.uk/
47
To discuss colour terms is, it seems, to talk about

language more than it is to talk about colour.

MA Graphic Design Major Project Proposal

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Colourful Language

Major Project Proposal

the names of colours, in themselves, have no precise

Major Project Proposal

The Optical Society of America suggests that the

To attend to colour, then,

Major Project Proposal

How We Talk about Colour:

To fall into colours is

Major Project Proposal

Aims and Objectives

The fundamental aim of this research project is to

The discourse on colour and language, through

what does it mean to divide

Major Project Proposal

Colour is a potent tool for designers. We use it to

that there is a significant interest in colour and its

Basic colour terms

Major Project Proposal

The subject of this research project lies where two

Painting) and scientific methods, by Sir Isaac Newton

Wittgenstein asked: How

mechanism? In colour perception: Objectivism versus

5. Although language is limited in describing colour

Major Project Proposal

communications. The difficulty with colour naming

Structure of The Major Project

Colour Perception + Naming

How We Talk about Colour

Aims & Objectives

Formal & Informal

Research Blog + Visual Summary +

Major Project Proposal

The research methodology for this project will largely

Major Project Proposal

Schedule of Work Continued

Major Project Proposal

Major Project Proposal

I intend to employ critical reflection as the primary

Such basic colour

Major Project Proposal

While some aspects of this project may lend

Alternatively, one aspect of the project may become

I have already completed a significant amount of

of paint colours. Following this I will typologise them

Major Project Proposal

and whether they work or have studied in the visual

To look at the idea of subjectivity in colour naming

(such as an apple, duck, the sea) as a instinctive

Major Project Proposal

Fig. 1 Article about the colour of Michelle Obamas Dress.

Fig. 2 Comment on Neutral Colour Trends in 2010.

Major Project Proposal

Fig. 3 Blog post about an argument over the colour of a car.

Fig. 4 Image of the car described in the above post.

Fig. 5 Cover of the Colour Thesaurus by Nathan Moroney.

Fig. 6 Example of a typical page from the Colour Thesaurus.

Major Project Proposal

Fig. 7 Colour Label Explorer by CrowdFlower.

Fig. 9, Fig. 10 & Fig. 11 Examples ways of visualising colour-related data.

Major Project Proposal

Fig. 12 Cover of The Colour Dictionary.

Fig. 13 Example Spread from The Colour Dictionary.

BATCHELOR, D., 2000. Chromaphobia. London: Reaktion.