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Jim Jarmusch - 'Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, b...

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The color white is color at its most complete and pure, the color of perfection. The psychological meaning of white is purity, innocence, wholeness and completion.

In color psychology white is the color of new beginnings, of wiping the slate clean, so to speak. It is the blank canvas waiting to be written upon. While white isn't stimulating to the senses, it opens the way for the creation of anything the mind can conceive.

White contains an equal balance of all the colors of the spectrum, representing both the positive and negative aspects of all colors. Its basic feature is equality, implying fairness and impartiality, neutrality and independence. It is interesting to note that babies come into the world with a perfect balance of white, ready to imprint their lives with all the colors of the spectrum (hopefully!) from all their life experiences.

White is totally reflective, awakening openness, growth and creativity. You can't hide behind it as it amplifies everything in its way.

The color white is cleanliness personified, the ultimate in purity!! This is why it is traditionally worn by western brides, and the reason why doctors wear white jackets.

White is a color of protection and encouragement, offering a sense of peace and calm, comfort and hope, helping alleviate emotional upsets. It creates a sense of order and efficiency, a great help if you need to declutter your life.

White offers an inner cleansing and purifying of your thoughts, emotions and, ultimately, your spirit, refreshing and strengthening your entire energy system.

While there are very few negative connotations to white, particularly in western culture, too much white can be cold, isolating and empty. It implies a feeling of sterility, detachment and disinterest, providing little stimulation for the senses.

In other cultures it is traditionally related to death and mourning. In these cultures death usually means the end of one life and the beginning of another, moving forward to a new life, so the color psychology meaning of new beginnings still holds.

White may indicate the completion of a cycle in your life - you may find you have a desire for white clothing or white in your surroundings at a time when you are moving in a new direction in your life - for example, planning an overseas trip for the first time, or moving house after a long time in one place, or in seeking a new relationship or a new career direction.

Many people use white as a recall of their youth and innocence. It reminds them of a time when their lives were easier and less complicated.

White is used in many medical practices such as dental surgeries and doctors' rooms as an indication of cleanliness and efficiency; however it also can give the feeling of sterility and coldness of emotions and may lead patients to think the doctor or dentist won't relate to them on an emotional and personal level. It can be too clinical and sterile.

Too much white can cause feelings of isolation and emptiness; it can be too pristine and immaculate, making you feel as though you can't make a move for fear of upsetting it or creating a mess.

If your favorite color is white, it will reflect in your personality! Personality color white will give you more information on this.

If you are thinking of using white in a business application, read about the meanings of colors in business .

Positive and Negative Traits of the Color White

Positive keywords include: innocence, purity, cleanliness, equality, complete and whole, simplicity, immaculate and neat, self-sufficient, pristine and open, new beginnings.

Negative keywords include: sterile, stark, fastidious, empty, isolated, cautious, plain, distant, unimaginative, critical and boring.

The Color White Represents

Innocence and purity: White is the beginning of everything, before anything is muddied or thinking is 'colored'.

New beginnings: White represents the clean slate, helping us through times of stress, and allowing us put the past behind us and preparing us to move on.

Equality and unity: White represents the positive as well as the negative aspects of all colors. It contains an equal balance of all the colors of the spectrum.

Impartial: White suggests fairness and neutrality because of the balance and equality of all the colors contained within it.

Rescuer: White rescues us from the dark. It is the white knight, rescuing the damsel in distress.

Futuristic: Symbolizing a clean slate, we can envisage anything with white.

Efficient: White is clean and clinical, giving an impression of efficiency and organization.

To go to Personality Color

To return from the Color White to the Home Page
To return to the Meaning of Colors
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The color white is color at its most complete and pure, the color of perfection. The psychological meaning of white is purity, innocence, wholeness and completion. In color psychology white is the color of new beginnings, of wiping the slate clean, so to speak. It is the blank canvas waiting to be written upon.

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Black isn't a primary, secondary, or tertiary color. In fact, black isn't on the color wheel because it isn't considered a color. It's all colors. Or rather, the absorption of all colors. Black absorbs all light in the color spectrum.

According to color psychology, color-related emotion is highly dependent on your personal preference and past experiences with that particular color. The color black is no different.

The Psychological Effect of Black

Individual reactions to the color black can vary widely. Some of these responses have cultural associations, but other factors can also play a part. Your own reactions might be shaped by your experiences and personal preferences.

According to German scientist Hermann von Helmholz, "Black is real sensation, even if it is produced by the entire absence of light. The sensation of black is distinctly different from the lack of all sensation."

Positive Associations

The color black is associated with a number of positive qualities and characteristics. For example, some common associations with the color black is associated include:

The color is often described as strong and elegant. The color oozes sophistication. That's why many people don black clothing when attending a fancy event. It's also why high-end brands like Tiffany & Co. and Chanel utilize black in their logos.

The color black has long been associated with power and prestige. From priests to judges, tuxedos to credit cards.

Negative Associations

However, many use the color black to symbolize all things negative. Throughout history, this somber color has been tied to death and all things evil and bad. It evokes strong feelings of anger, aggression, fear, and sadness.﻿﻿

The connection between black and negativity is probably most clearly seen in our language. Just consider these commonly used expressions: Black Monday. Black Plague. Black magic. Blackball. Blackhole. Black-hearted. Black mood. Black sheep. Blackmail. Black market. Blackout. The list could go on.

And nothing says "bad guy" quite like the color black. Though black is worn (and often preferred) by people from all walks of society,﻿﻿ it's often seen as the stereotypical color for criminals and villains.﻿﻿ Why do you think the color of choice for villains (think Dracula and Darth Vader) and other shady movie and TV show characters is almost always black?

Cultural Associations

Black is the perfect example of how color meaning can differ from one culture to another. In many western traditions, black is associated with death and mourning, whereas in China the color of death is white.﻿﻿

Color Associations and Racial Attitudes

It is important to recognize that how color is used in language can be linked to racial attitudes, racism, bias, and colorism. In some cultures, the colors white and black are often used to represent good and evil. Consider the meaning and use of terms like blacklist or black sheep, for example.

In a study by Steele and Aronson, they found that when Black students were made to feel that their race was being brought to attention, they underperformed on tests. The threat of being viewed through a racial lens (known as stereotype threat) can result in anxiety and poorer performance.

While language is always evolving and terms often become detached from their origins, it is important to recognize that the way the color black is utilized in everyday language can reflect attitudes and associations that may have racist or colorist origins.

In one journal article exploring the prevalence of racist language, researchers noted that while many synonyms associated with the word "whiteness" were positive, a significant number of those associated with "blackness" had negative connotations.

Other studies have found that people tend to have automatic associations between blackness and negativity. Referred to as the "bad is black" heuristic, researchers found that people tend to associate criminal or immoral acts with darker skin tones.

While some may argue that these color associations are no longer relevant, it is important to consider how they may still influence attitudes and behaviors. Colorism, or prejudice and discrimination against people based on their skin tone, has been associated with psychosocial, health, and socioeconomic disadvantages.

Recap

These studies suggest that how we use color in language can reflect underlying attitudes and beliefs that may be racist or colorist. It is essential to be aware of these associations and to consider how they may impact our interactions with others.

Using the Color Black in Feng Shui

In feng shui, a way of harmonizing your home, office, and other environments, each color represents a feng shui element. Black is associated with the water element and evokes power, mystery, and calm.﻿﻿ When it's used sparingly, black has a grounding effect on your environment.

Here are a few tips for using black in feng shui:

Consider a black door for doors that face north, east, or southeast.

Choose black for your kids' room to bring calm and creativity.

If you have a home office in the north part of your house, paint one wall black.

Paint the floor black in a room in the north part of your space.

Try black and white in your laundry room or kitchen.

Try placing black accessories like knick-knacks, frames, or vases around your home.

A Word From Verywell

People's preference for certain colors is based on a whole host of factors, including environment, personality, experience, and upbringing. Pay attention to how the color black makes you feel and consider how some of these factors may shape how you feel and respond to this color.

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How the Color Black Impacts Moods, Feelings, and Behaviors

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The color black has many associations, like power, mystery, fear, strength, death, and evil. Learn more about the color psychology of black and what influences it.

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What Makes GOOD Character Design - Disney Animation Studio Artists Interviews

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You have a very clear question and you are beginning to develop a good set of resources to back this up. You have also begun to think beyond the question in terms of what the implications are and how this might not be effective. Could this shape you question further in terms of how realistic AI can be in character design and how an AI can be developed to meet those expectations.

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Face Generator / AI identifying key traits of people.

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Face Generator / AI identifying key traits of people.

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- The AI wont "know" what physical character traits mean in terms of what that character means for the Story.

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- Loss of Jobs.
- Huge resource of images.
-Expensive Program to create.

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Ian Goodfellow: Generative Adversarial Networks (GANs) | Artificial Intelligence (AI) Podcast

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Gestalt psychology : Köhler, Wolfgang, 1887-1967 : Free Download, Borrow, and Streaming : Internet Archive

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How Can a Character's Personality be Conveyed Visually, through Shape

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How Can a Character's Personality be Conveyed Visually, through Shape

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Hanna Ekström

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IT (1990)

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A few years ago, after some heated debate in a Montreal pub, Ian Goodfellow dreamed up one of the most intriguing ideas in artificial intelligence. By applying game theory, he devised a way for a machine-learning system to effectively teach itself about how the world works.

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A generative adversarial network (GAN) has two parts:

The generator learns to generate plausible data. The generated instances become negative training examples for the discriminator.

The discriminator learns to distinguish the generator's fake data from real data. The discriminator penalizes the generator for producing implausible results.

When training begins, the generator produces obviously fake data, and the discriminator quickly learns to tell that it's fake:

As training progresses, the generator gets closer to producing output that can fool the discriminator:

Finally, if generator training goes well, the discriminator gets worse at telling the difference between real and fake. It starts to classify fake data as real, and its accuracy decreases.

Here's a picture of the whole system:

Both the generator and the discriminator are neural networks. The generator output is connected directly to the discriminator input. Through backpropagation, the discriminator's classification provides a signal that the generator uses to update its weights.

Let's explain the pieces of this system in greater detail.

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Overview of GAN Structure | Generative Adversarial Networks

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"type": "thumb-down", "id": "missingTheInformationINeed", "label":"Missing the information I need" },{ "type": "thumb-down", "id": "tooComplicatedTooManySteps", "label":"Too complicated / too many steps" },{ "type": "thumb-down", "id": "outOfDate", "label":"Out of date" },{ "type": "thumb-down", "id": "samplesCodeIssue", "label":"Samples/Code issue" },{ "type": "thumb-down", "id": "otherDown", "label":"Other" }] [{ "type": "thumb-up", "id": "easyToUnderstand", "label":"Easy to understand" },{ "type": "thumb-up", "id": "solvedMyProblem", "label":"Solved my problem" },{ "type": "thumb-up", "id": "otherUp", "label":"Other" }] A generative adversarial network (GAN) has two parts: The generator learns to generate plausible data.

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The pasty face. The red hair. The beep-beep nose. Pennywise the Clown provided nightmare-fuel for kids big and small throughout the '90s after Tim Curry brought him to life in Tommy Lee Wallace's IT mini-series, adapted from Stephen King's 1,138-page tome.

Before Tim Curry, though, it was make-up artist Bart Nixon's job to come up with a clown who would have everybody cowering. From early concept designs to affixing bits of rubber to Curry's face, he's the man behind the monster. Without Bart Nixon, we wouldn't have the Pennywise we all love and fear.

"I was responsible for all the creatures like the werewolf and the marsh and the corpse of his dad on the lake and the big spider at the end," he says of his time working with special effects company Fantasy 2. "We did everything except the creatures in the fortune cookies."

Here, alongside his original character designs, Nixon exclusively tells Digital Spy how he created horror history...

THE PENNYWISE LEGACY

"I did The Ring 3 a couple of years ago, working with Rick Baker, and he brought IT up, which was very flattering! Obviously guys like Rick Baker and Stan Winston have got this catalogue of famous characters they've created. It's nice to have one that's mine.

"Pennywise was my design, my sculpture, my application, so it's all my baby. It's great that I've got about a dozen T-shirts with Pennywise on, I've got a pair of Pennywise tennis shoes, people still want to talk to me about it. The make-up, I'm very happy with it, I think it holds up nicely.

"I'll mention it to co-workers and they'll be like, 'Oh that scared the crap outta me!' That's great."

GETTING INVOLVED

"Stephen King was really hot back then. Everything he was writing was getting turned into movies or TV shows, so IT was certainly something I was aware of, but I wasn't a fan of the book in particular. I hadn't read the book.

"My brother was a big King fan and he was like, 'Oh it's cool, IT can be anything!' I borrowed his book, read a couple of paragraphs where it first describes Pennywise, but I worked more from the information that was given to me in the script, rather than going through the book.

"Gene Ward at Fantasy 2 Film Effects brought me in to work on the mini-series. They were a miniature and digital effects company; they did high-speed miniatures. The first thing we did together was Fright Night 2, which was also for Tommy Lee Wallace, so when IT came up a year or two after Fright Night, Tommy was back and Gene called me in.

DESIGNING PENNYWISE

"In broad strokes, the design we ended up going with was basically a clown version of Lon Chaney's Phantom of the Opera. When I was sculpting it, that was a conscious aesthetic decision on my part, in terms of the shape of the head and the upturned nose and all that stuff.

"I wish I had gotten a copy or made notes of my research, but I remember looking at a clown book in the Glendale Library here in California and there was a Russian clown that kind of looked like the Phantom of the Opera.

"A lot of my original ideas, I didn't necessarily get to do them. Visually, I wanted to have two looks for Pennywise - when he's in the kids' story, he's a friendly, happy-looking clown, but then when they came back as grown-ups, they knew he wasn't a clown at that point, they knew he was a monster, so I wanted him to be more of a horrific caricature of a clown. Maybe not a corpse clown, but something more horrible.

"I remember talking to Tommy about it and he was concerned about shooting schedule-wise, having to turn Tim over from one look to the next, on the same day, would have been too difficult."

CRAFTING ON CURRY

"Once we had met Tim Curry, I could work from his head shots; I was able to do designs that would fit him. The final sketch of the design, I just drew over Tim's face to make sure everything would fit. I did three sketches, painted them up, photographed them and sent them to the director to get feedback from him.

"Then we settled on one sculpture and I broke it down to prosthetics; a chin, a nose and headpiece. We did the make-up test; that's when we refined the paint scheme and Tim Curry had some thoughts on that, he told me his thoughts. It was definitely a collaborative process.

"I was certainly a Tim Curry fan. I'd seen Legend and Rocky Horror. I remember he had a couple of albums out at the time. He wasn't too keen on us playing Rocky Horror music in the trailer, but I had a Tim Curry cassette and he'd love to play that. Madonna's 'Vogue' was out then, so I got some video of him boogying in the trailer to that.

"I was a little intimidated by him. After Legend, he knew what good prosthetic make-up was, and that was a bit daunting, but he was very friendly, very nice. He wasn't all, 'Shut up and do my make-up!' - thankfully we didn't have cell phones back then, so it wasn't like he was sitting on his phone the whole time.

"When we got into the details of the make-up, he would look at it and offer suggestions, critiques in terms of, 'The eyebrows are a little crooked,' whatever. He was a part of the process. He was a very nice guy, very easy to work with and very comfortable to work with. I've nothing but good memories.

"Actually I bumped into him at Burbank a few months ago now and, not that I expected him to remember who I was, but I went up and he goes, 'Oh, that was wonderful make-up!' He was very complimentary, saying very nice things about the make-up after all these years. It wasn't like, 'Ah, get away from me!' - so that was flattering!"

CHANGING COLOURS

"My initial paint concepts were a little heavier. I had more of a big red mouth, and a red colour that built up from the lips into the cheekbones a little, and then these big blue eye sockets to make it look skullish.

"We tested it with the headpiece, and the nose and the white face, and then Tim had some specific suggestions on some pretty minimal aspects, lips and eye make-up, and then we tested that.

"Three hours was kind of a magic number back then with the application. Just the building of the layers, the white, that wasn't a one-step thing; it took a couple of passes as I wanted a nice pure white. All my colours I wanted very primary, the blue was blue, the red was red.

"They weren't muddy or weird mixes of colours, I wanted everything to be very stark and primary like a live-action cartoon. I should've had a stencil but I didn't, so I had to do all that stuff by hand and that took a little bit of time.

"At one point we were talking about if they'd let us put contact lenses on Tim that would've been a flat blue, not even modelled on an eye, just like a live-action cartoon.

GETTING SWEATY

"The only problems we had, some days it got a little warmer than you thought it would have in Canada and because I used acrylic paint and glue, there's no place for your sweat to go, so we'd get little sweat blisters beneath the rubber where the sweat was literally pushing the paint up off Tim's face.

"You had to blot it; if you weren't careful and you just wiped it, you'd end up wiping a chunk of the make-up off. I remember a film I was on, Texas Chain Saw Massacre 2, where we had similar make-up and the first time I went to do something with the sweat on that, a big chunk of the make-up just slid off.

"So I'd have to get out the powder puff and basically blot it and pop these little sweat blisters, soak up the sweat. It was pretty much the same make-up on Tim every day so there wasn't a lot of continuity of changes to worry about.

BATTERY ACID

"The battery acid stuff, we shot that in post, back in LA at Fantasy 2. The shot of him coming up through the drain in the shower, as well as reacting to the battery acid, we shot that there.

"A testament to what a nice guy Tim was, I'd taken the battery acid prosthetics up to Canada with the intention of us shooting it up there, but we didn't have time to do it, so we shot it in Canada with just the normal look.

"At that point, the thinking was, 'Let's just not even use it, and just do him looking normal,' so when he pulled his hands away it'd just be some slime or whatever.

"Tim was like, 'Oh it's a shame, Bart did such a beautiful job on these prosthetics,' so he agreed that if he could shoot all of that stuff in one day, he would go do the heavier make-up for a couple of scenes, so I'm very grateful to him for that.

"He could easily have said, 'I don't wanna wear that,' and it would've just stayed in the box. So he recognised that I put some effort into it, and it makes sense in that scene that something has happened to him.

WHITE LIGHT

"When they shoot him in the head with the rock, in the script, when the head cracked and broke away, spider hairs were supposed to be sticking out.

"For me, I thought that was too literal, I didn't think the spider was what it really was either, that was just its last attempt to scare everybody. The dead lights were its truest form, so it was my suggestion that when the head cracks open, the dead light would be shining out of its head, and I was happy that they adopted that.

"Visually that makes it a little more magical and otherworldly. For me, he was never just a big spider or a mummy or a werewolf, the spider was just another illusion. Actually, when it was the light coming out of his head, my brother did the animation for that.

COULROPHOBIA

"I was never scared of clowns. I don't remember the clown phobia stuff back then... That was never really a thing for me. John Wayne Gacy, the serial killer who dressed up like a clown, I guess he didn't give clowns very good press.

"I don't think I was ever a big fan of them, but it wasn't because I was afraid of them. I don't recall ever being weirded out by clowns. Hopefully I've contributed to that for other people!"
The new IT opens on September 8.
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The inside story of how IT's Pennywise was created

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The pasty face. The red hair. The beep-beep nose. Pennywise the Clown provided nightmare-fuel for kids big and small throughout the '90s after Tim Curry brought him to life in Tommy Lee Wallace's IT mini-series, adapted from Stephen King's 1,138-page tome.

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A collaborative tool for discovering images.

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An interview with award winning character designers and their thought process.