Design Mode Innovation of Local Color Cultures: A Case Study of the Traditional Female Costume of Yi Nationality
Abstract
:1. Introduction
2. Literature Review
2.1. Color and Culture
2.2. Female Costume of Liangshan Yi
2.3. Visual Images
3. Methods
3.1. Data Collection
3.1.1. Color Analysis
3.1.2. Color Images
3.1.3. Color Scheme Sample Design
3.1.4. Color Scheme Sample Verification
3.2. Liangshan Yi
4. Results
4.1. Color Analysis
4.1.1. Color Area Analysis
4.1.2. Color Distribution
4.2. Color Images
4.2.1. Image Adjectives Collection
4.2.2. Color Image Survey
4.3. Sample Design of Color Scheme
4.3.1. Color Images
4.3.2. Instructions for Color Scheme
- Color area ratio: dominant color, black 37%. Secondary colors, red, 15%; yellow, 15%; blue, 14%; and pink, 12%. Decorative colors: orange, 5% and green, 2%.
- Principles of color scheme: large areas of color black; areas of blue; yellow, red and pink stripes for emphasis; green, orange lines and lines in other decorative colors repeatedly embellished on the edge.
4.4. Verification on Color Scheme Samples
5. Conclusions
- Understand color characteristics. Through knowing and understanding culture, analyze the color samples in a scientific way, define the standard color of the culture, and summarize the color attributes and characteristics unique to the culture.
- Analysis of color images. Culture of different regions has its own characteristics and symbols. Through the psychological experiment of images, understand the perception that the colors of a certain culture convey to people and make it the basis for criteria of color scheme.
- Establish color scheme samples. Summarize and organize the records of color, ask designers to assist in establishing color scheme samples and evaluate the effectiveness of such samples.
- Principles of color scheme. Establish comprehensive color scheme principles as a basis for promoting and advertising regional cultural colors.
- The colors of costume usually change with the times, mainly because the materials obtained are different due to environmental reasons. Therefore, the colors used by costume makers can be slightly different. In the early 1950s, most areas in Liangshan were still a slave society which was ended in 1956. After that, Liangshan entered socialist society. The samples used in this research are based on the color scheme of Liangshan Yi women’s daily costume after 1956, and that before 1956 is not taken into consideration in this study.
- According to mere exposure proposed by Robert Zajonc in 1968, the more common a stimulus is, whether it is a figure or a human face, the more people will like it, meaning the frequency of the stimulus is positively correlated with the degree of people’s preference. Therefore, this study only discusses the colors on the front side of the costume without taking headwear, necklaces and other accessories into consideration [41].
Author Contributions
Funding
Conflicts of Interest
References
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Color Scheme | Color | Pixel Area | Color Ratio | RGB | CMYK | Pantone |
---|---|---|---|---|---|---|
Dominant Color | Black | 467,161 | 37% | 18/13/2 | 84%, 82%, 92%, 74% | 19–4006 |
Secondary Colors | Red | 188,193 | 15% | 226/4/0 | 13%, 93%, 100%, 0% | 18–1763 |
Yellow | 183,223 | 15% | 255/222/29 | 7%, 10%, 73%, 0% | 13–0858 | |
Blue | 171,140 | 14% | 0/56/120 | 91%, 86%, 21%, 0% | 18–4434 | |
Pink | 153,445 | 12% | 255/156/210 | 7%, 50%, 0%, 0% | 15–2213 | |
Decorative Colors | Orange | 62,803 | 5% | 242/134/39 | 5%, 60%, 86%, 0% | 15–1263 |
Green | 30,089 | 2% | 9/140/86 | 82%, 31%, 82%, 0% | 17–6030 |
English |
---|
Traditional-Modern |
Splendid-Plain |
Festive-Sorrowful |
Complex-Simple |
Heavy-Light |
Passionate-Indifferent |
Unique-Common |
Hard-Soft |
Image Verification | Mean | t | Sig. (2-Tailed) |
---|---|---|---|
Traditional-Modern | 1.76 | −13.662 | 0.000 *** |
Splendid-Plain | 2.74 | −2.061 | 0.042 * |
Festive-Sorrowful | 1.88 | −13.817 | 0.000 *** |
Complex-Simple | 1.83 | −12.176 | 0.000 *** |
Heavy-Light | 1.90 | −12.054 | 0.000 *** |
Passionate-Indifferent | 1.89 | −12.246 | 0.000 *** |
Unique-Common | 2.30 | −5.978 | 0.000 *** |
Hard-Soft | 2.07 | −10.041 | 0.000 *** |
YF-1 | YF-2 | ||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Image Evaluation Project | Traditional | Splendid | Festive | Complex | Heavy | Passionate | Unique | Hard | Traditional | Splendid | Festive | Complex | Heavy | Passionate | Unique | Hard | |
Most Extreme Differences | Positive | 0.146 | 0.149 | 0.176 | 0.145 | 0.163 | 0.131 | 0.187 | 0.122 | 0.134 | 0.179 | 0.185 | 0.165 | 0.152 | 0.16 | 0.161 | 0.142 |
Negative | −0.38 | −0.33 | −0.434 | −0.33 | −0.354 | −0.352 | −0.417 | −0.383 | −0.331 | −0.372 | −0.377 | −0.385 | −0.375 | −0.371 | −0.365 | −0.356 | |
Asymp. Sig. (2-tailed) | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | |
YF-3 | YF-4 | ||||||||||||||||
Most Extreme Differences | Positive | 0.234 | 0.179 | 0.179 | 0.149 | 0.165 | 0.195 | 0.165 | 0.165 | 0.104 | 0.165 | 0.173 | 0.148 | 0.152 | 0.175 | 0.159 | 0.15 |
Negative | −0.329 | −0.415 | −0.393 | −0.336 | −0.397 | −0.422 | −0.417 | −0.389 | −0.371 | −0.352 | −0.359 | −0.368 | −0.372 | −0.377 | −0.391 | −0.403 | |
Asymp. Sig. (2-tailed) | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | |
YF-5 | YF-6 | ||||||||||||||||
Most Extreme Differences | Positive | 0.259 | 0.195 | 0.214 | 0.167 | 0.182 | 0.173 | 0.199 | 0.187 | 0.142 | 0.153 | 0.139 | 0.124 | 0.174 | 0.133 | 0.141 | 0.113 |
Negative | −0.342 | −0.379 | −0.402 | −0.301 | −0.393 | −0.391 | −0.385 | −0.34 | −0.323 | −0.366 | −0.399 | −0.4 | −0.345 | −0.404 | −0.324 | −0.382 | |
Asymp. Sig. (2-tailed) | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | |
YF−7 | YF−8 | ||||||||||||||||
Most Extreme Differences | Positive | 0.273 | 0.148 | 0.16 | 0.116 | 0.15 | 0.109 | 0.142 | 0.124 | 0.239 | 0.18 | 0.188 | 0.166 | 0.211 | 0.161 | 0.194 | 0.185 |
Negative | −0.365 | −0.368 | −0.356 | −0.379 | −0.354 | −0.358 | −0.323 | −0.392 | −0.357 | −0.401 | −0.384 | −0.355 | −0.427 | −0.387 | −0.402 | −0.397 | |
Asymp. Sig. (2-tailed) | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** | 0.000 *** |
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Ji, Z.; Huang, W.-H.; Lin, M. Design Mode Innovation of Local Color Cultures: A Case Study of the Traditional Female Costume of Yi Nationality. Designs 2020, 4, 56. https://doi.org/10.3390/designs4040056
Ji Z, Huang W-H, Lin M. Design Mode Innovation of Local Color Cultures: A Case Study of the Traditional Female Costume of Yi Nationality. Designs. 2020; 4(4):56. https://doi.org/10.3390/designs4040056
Chicago/Turabian StyleJi, Zhe, Wei-Hsin Huang, and Mengyi Lin. 2020. "Design Mode Innovation of Local Color Cultures: A Case Study of the Traditional Female Costume of Yi Nationality" Designs 4, no. 4: 56. https://doi.org/10.3390/designs4040056