As the core visual gene of Eastern aesthetics, traditional Chinese colors carry the philosophical speculation, cultural context, and natural aesthetic wisdom accumulated by the Chinese nation over thousands of years. Taking the digital work "Oriental Hues · Digital Realms: An Experimental Suite on the Contemporary Translation of Traditional Chinese Aesthetics", jointly created by the author and the postgraduate team under supervision, as a practical sample, this paper focuses on the visual translation and AI-generated creation of traditional Chinese colors. Centered on four series—"Five Elements Cosmos" "Oriental Color Connotations" "Chilechuan" and "Color · Image · Threshold: Twenty-Four Frames of Solar Terms"—it explores the design approaches and morphological expressions of traditional Chinese colors in digital interpretation from four dimensions: philosophy, cultural lineage, nature, and time. The study aims to provide practical and referential cases for the contemporary revitalization of traditional Chinese colors and the construction of a digital realm of Eastern aesthetics.

"Iris color" serves as the smallest and most complex natural color unit of the human body. It is not only the product of the combined effects of biological genetics and optical structures, but also a crucial carrier of cultural aesthetics and identity. Focusing on the color gamut characteristics of iris color within the Chinese population, this study conducted empirical observations of 300 volunteers under Standard Illuminant D65. The findings confirm that the iris color of the Chinese population predominantly falls within the dark brown spectrum. The study employs a dual-layer transparent film overlay colorimetry method, alongside closely associated B-HLC four-dimensional parameter recording. Drawing methodological inspiration from the traditional Chinese "Jiugong" (nine-square grid) philosophy, this research establishes a framework to innovatively design a "Nine- Square Grid Iris Colorimetric Scale." This scale utilizes vertical and horizontal axes to categorize the cool-warm temperature of the hue and the high-low levels of lightness, thereby constructing a "nine-quadrant" color difference analytical model for iris color. This model effectively encompasses the iris color characteristics of the vast majority of the Chinese population, and by extension, East Asian populations. This research further advances and deepens existing Western iris color classification systems. Additionally, it pioneers a new research pathway for the study of "biological color," enriching the methodologies of fundamental color science research. The outcomes offer a valuable exploration into national image aesthetics, color applications in medical aesthetics, interdisciplinary color education theory, and the development of practical tools.

Focusing on the lack of cultural identity in the spatial color design of contemporary museums, this study systematically explores the color system of Jiangnan gardens in the Song Dynasty and constructs a three-dimensional translation path of color perception-spatial narrative-artistic conception construction. It aims to realize the in-depth integration of traditional garden color translation and spatial narration in contemporary museums. Based on the core aesthetic of simplicity and returning to authenticity, it highlights the contemporary inheritance of literati artistic conception in the Song Dynasty, providing theoretical support and practical reference for the cultural activation and innovative color design of contemporary museum spaces.

AIGC technology has transformed the mechanisms of content creation in the digital industry, whilst digital media has expanded the dimensions of immersive experiences rooted in China's traditional "Five Elements and Five Colours" philosophy. This paper expounds on the traditional Chinese concept of the "Five Elements and Five Colours" in relation to time and the cosmos. By analysing the fundamental differences in the generative mechanisms of human-perceived colours and AI-generated colours, this proposal suggests a strategy for the digital translation of the traditional Chinese "Five Elements and Five Colours" through the application of AIGC technology. Using the "Five Elements Universe" as a practical case study, the paper summarises a human-machine collaborative co-creation model and design process for digital colour practice, aiming to provide a practical pathway for the cultural translation and digital dissemination of the traditional Chinese "Five Elements and Five Colours".

This study uses the poems about the twenty-four solar terms from the "Classic of Poetry" as text, and constructs a research path of "text-object-color-image-sound" to explore the visual design methods and theoretical foundations of synesthetic visualization of traditional Chinese colors. The work "Shaoxu: Twenty-Four Chapters" uses algorithmic design to connect the visual and auditory aspects of colors in the solar terms, and combines 3D Mapping technology to allow viewers to "listen to color and see time." By interweaving color, sound, and light, it constructs a flowing scroll of traditional Chinese colors, further building a visual presentation and five-sense experience of China's autonomous knowledge system of colors.

In the era of emotional economy, color has become an important medium for products to establish emotional connections with consumers. This article takes POP MART as the main case study, exploring how color influences users' emotional perception and value experience within the IP visual system by analyzing its color application strategy in IP design. The article first expounds the theoretical basis of color psychology and emotional value, and then takes the IPs of Dimoo, Skullpanda, Hirono, and Twinkle Twinkle under POP MART as examples to analyze their color mechanisms in visual design, brand narrative, and consumer psychology. Through an interdisciplinary research method combining design and psychology, a set of IP color design methods based on the framework of "color-emotional value-brand loyalty" is proposed, providing theoretical support and practical paths for future emotion-oriented IP design.

Against the backdrop of rapid urban development, public demand for emotionally restorative environments is increasing. As the most accessible natural spaces in cities, parks can create differentiated landscape atmospheres through variations in flower color, thereby influencing public emotions. However, existing studies have mainly focused on the emotional effects of single flower colors, while insufficient attention has been paid to the emotional impacts of color combinations. Taking urban parks as the research context, this study employed image simulation and questionnaire surveys to explore the effects of single-color and combined-color flowers on public emotional responses. The results showed that significant differences existed among age and gender groups in their perception of cool-colored environments. Among single-color flowers, warm colors were more likely to stimulate emotional uplift, whereas cool colors were more likely to promote relaxation. In color-combination settings, combinations with consistent tonal tendencies tended to maintain the emotional direction of single colors, and cool colors were more likely to serve as key cues influencing the overall emotional experience in mixed-color environments. The findings provide references for emotion-oriented flower border design and the creation of therapeutic park landscapes.

This article takes the Republic of China era magazine "The Young Companion" as the research object, uses K-means++clustering algorithm to quantitatively extract its cover colors, and uses the Coloro color system of Chinese color cognition habits for multidimensional analysis. On this basis, this study proposes a color re creation method based on the nine color gamut of Coloro. While maintaining the original hue structure and harmony logic unchanged, only strategic adjustments to brightness and saturation can achieve stylized transformation of color emotions. This method provides an operable and scalable color application path for Haipai cultural and creative design, which helps to promote the revitalization, inheritance, and innovative application of Haipai culture in contemporary design.

Based on Donald Norman's Theory of Emotional Design, this paper systematically explores the expressive pathways and methods of color emotionalization in glass materials, taking the Iittala Savoy Vase as a case study. The findings indicate that the physical properties of glass, such as transparency and malleability, influence the presentation of color. Specifically, they stimulate sensory emotions at the visceral level, facilitate functional interaction at the behavioral level, and embody cultural memories at the reflective level, thereby establishing an emotional connection between the product and the user. This research provides theoretical basis and practical reference for the application of glass materials in emotional design.

This paper aims to study and analyze the innovative application of traditional costumes of the Huarui Tibetan people in the Hexi Corridor to contemporary parent-child clothing design. Through systematically extracting, analyzing, reorganizing and redesigning the patterns and colors of Huarui Tibetan costumes, they are applied to contemporary parent-child clothing design. With the rapid growth of the children’hgs clothing economy, the diversification of contemporary parent-child clothing design provides consumers with more choices. Integrating the classic patterns and color system of traditional Huarui Tibetan costumes into contemporary parent-child clothing design can not only greatly enhance the national connotation, innovative expression and style diversity of parent-child clothing, but also effectively inherit and sustainably develop Huarui Tibetan culture in contemporary life, so as to realize the creative transformation and innovative regeneration of traditional culture in modern life scenarios.

Against the backdrop of the accelerated branding process of geographically indicated agricultural products, issues such as homogenization of packaging color design and superficial expression of regional culture have become increasingly prominent. This article aims to explore innovative applications of color in the packaging design of geographically indicated agricultural products. The study first employs the theoretical analysis framework of 'cultural origins—design translation— market recognition' to examine the semantic composition and functional dimensions of packaging color. It then reviews common issues in the current application of color in agricultural product packaging. The core part proposes a systematic innovation path: extracting regional color genes through tracing origins, achieving creative transformation of cultural semantics into design language through translation, and constructing a brand color framework through systematization—forming a culturally rooted color system. The article further applies modern design language for translation and implementation, ultimately achieving a unity of regional cultural identity, brand recognition, and product functionality. This research aims to provide a theoretical basis and methodological reference for enhancing the cultural value of geographically indicated agricultural products and shaping differentiated brand images.

Traditional colors, as the visual code of Chinese traditional culture, carry the philosophical thoughts, aesthetic tastes, and cultural connotations of ancient people, serving as the core visual elements for China Chic animation to shape cultural symbols and convey national spirit. This paper combines recent outstanding China Chic animation works such as "Chang An" "Deep Sea", and "Nobody", elaborates on the connotation of animation design under the China Chic context, analyzes the intrinsic compatibility between traditional colors and China Chic animation, and proposes innovative application paths for traditional colors in animation design under the China Chic context from aspects such as deeply exploring the cultural connotations of traditional colors, innovating traditional color coordination techniques, integrating modern digital technologies, and strengthening brand awareness.

The color education section in undergraduate visual communication design textbooks commonly exhibits issues such as overemphasis on color matching techniques while neglecting color storytelling, as well as disconnection from the demands of the cultural and creative industries.To address this, this paper proposes using cultural and creative projects as a catalyst to shift the teaching focus from 'color coordination training' to 'narrative skill development'. The teaching approach features four key innovations and reforms: First, restructuring the core modules of "Storytelling Through Color" and "Commercialization of Cultural and Creative Design"; Second, integrating real-world projects into classroom instruction; Third, adopting a practical training model that combines on-campus training with off-campus enterprise-based practice; Fourth, establishing a comprehensive evaluation system.These four innovative reforms have significantly enhanced students' color narrative awareness, project execution capabilities, and market sensitivity throughout the design process. Moreover, the reforms have provided replicable teaching methodologies for design courses.

As a representative visual identification element in brand image, the rationality of apparel color selection largely determines consumers' recognition of the brand. However, the color schemes of some apparel brands are seriously inconsistent with their overall positioning, which invisibly weakens the overall recognizability and influence of the brand. This paper focuses on the application of apparel colors in brand visual identification, discusses relevant theories of apparel colors, analyzes various problems existing in the application of apparel colors in brand visual identification, and puts forward strategies such as defining color positioning to design distinctive color identification symbols, establishing a systematic color system to ensure application consistency, and accurately matching brand tonality to meet the needs of target customer groups, aiming to provide theoretical references for relevant apparel brands.

Against the background of consumption upgrading and the normalization of visual communication, print advertising serves as a core medium connecting brands and audiences in consumption scenarios. Color design directly influences advertising communication effects and consumers' purchasing decisions. Taking the core relationship between consumption scenarios and print advertising color as the starting point, this paper systematically analyzes the characteristics and classification of consumption scenarios as well as the functional value of print advertising color. It focuses on exploring four major strategies of print advertising in consumption scenarios: color matching, color contrast, emotional expression and scenario adaptation, and dissects three perception dimensions of audiences toward advertising color: visual perception, emotional perception and behavioral perception. Furthermore, targeted optimization suggestions are put forward to provide theoretical support and practical reference for print advertising color design to fit consumption scenarios and meet audience needs, so as to help improve advertising communication efficiency and brand competitiveness.

This study focuses on the application of color psychological intervention in psychological counseling for college students, with the aim of finding an intervention path that meets the psychological needs of students. In the study, the core connotation of color psychological intervention was first clarified, and then the principles of its application in psychological counseling were clarified based on the psychological characteristics of college students. Subsequently, specific application strategies including environment creation, theme activity development, and personalized program formulation were explored, in order to provide practical auxiliary means for college psychological counseling work.

Color construction in watercolor practice often remains at an experiential level, making it difficult to establish transferable teaching pathways and stable creative judgment. In practice, the drifting of the dominant tone, imbalance in value structure, and the accumulation of disordered contrasts can fragment the overall value system, leading to weakened spatial hierarchy and disoriented viewing paths.This study takes “color decision-making” as its entry point and constructs a logical chain from dominant tone selection to value coordination. Through comparative analysis of the author’s works within the same tonal system, it summarizes shared principles in value structuring and chroma range positioning. The effectiveness of this framework is verified in stabilizing spatial relationships, maintaining tonal unity, and enhancing atmospheric controllability, thereby providing a reproducible decision-making approach for both teaching and creative practice.

Boli peasant paintings are the most representative form of folk art in the Lixiahe water town region of northern Jiangsu, characterized by their vivid and distinctive color palette. This article systematically analyzes the color system of Boli peasant paintings from three perspectives: aesthetic characteristics, folkloric connotations, and contemporary transmission. It identifies three key features in the use of color: a high-purity overall tone, a decorative order marked by strong contrast, and subjective color application. The formation of this color palette is rooted in the combined influence of seasonal customs, folk notions of auspiciousness, and local handicraft traditions in the Lixiahe region. Building on this foundation, the paper further explores the cultural identity functions and preservation challenges of this color system in the contemporary context. It argues that the continuity of Boli peasant painting’s color tradition depends on the conscious preservation of the local aesthetic experiences and rural cultural psychology that underpin it.

Printmaking, as an extremely important carrier of Chinese traditional visual art, boasts a color language that goes beyond mere visual decoration. It represents a comprehensive expression system intertwining craft characteristics, cultural connotations, and aesthetic ideals. Due to the objective limitations of woodblock printing techniques, traditional prints naturally develop a simple, pure, and high-contrast color feature. Simultaneously, influenced by traditional culture and folk beliefs, they evolve into a meaningful color symbol system. Color serves not only as an element of image form but also as a medium for emotional transmission and a means of visual narration. Therefore, traditional prints create emotions through tone, enhance emotions through contrast, express feelings through details, and construct narrative logic through symbolization, rhythm, and negative space. This article conducts an in-depth analysis of the artistic characteristics, emotional mechanisms, and narrative logic of traditional printmaking's color language, explores its cultural value, provides theoretical support for the inheritance and innovation of contemporary printmaking creation, and promotes the contemporary transformation of traditional visual art.

This article centers on "White Paintings", the early representative work of Robert Rauschenberg, a 20th-century American artist. Focusing on "white"—the core color carrier in the work—and combining the artist's life experience with the historical context of the transformation of Western art after World War II, it systematically analyzes the in-depth shaping of Zen thought on Rauschenberg's color choices, color expression logic, and color aesthetic concepts. By interpreting the Zen essence embodied in the color of "White Paintings", this paper reveals how Rauschenberg transformed Zen philosophy into a visual color expression through a monochromatic language. Furthermore, it explores the unique value of this Zen color aesthetics in the innovation of color language in Western modern art, providing an Eastern perspective for the study of color aesthetics in a crosscultural context.

Chinese and Western painting have their own traditions in the concept of color and aesthetic pursuit. The integration of the two is an important topic to promote the innovation of modern traditional Chinese painting. This paper compares the differences and associations of the color systems of Chinese and Western paintings, expounds the significance of color fusion in expanding the expressive power of traditional Chinese painting, promoting aesthetic transformation and promoting cultural mutual learning. From the aspects of the introduction of light-color relationship, the combination of color composition concepts and cross-border experiments of material techniques, it discusses the practical path of Chinese and Western color integration in the creation of modern traditional Chinese painting, in order to provide reference for the innovative development of contemporary traditional Chinese painting.

Color is one of the most expressive visual language in painting art. For watercolor painting, the encounter of "water " and "color" is not only the essential stipulation of its media characteristics, but also the core source of its aesthetic charm. Watercolor painting was introduced into China from Britain. After more than a hundred years of development, it has formed an artistic form with different regional characteristics. Hunan watercolor painting is unique in the field of Chinese watercolor art with the color characteristics of "clear and implicit". From the perspective of color language, this paper selects the representative works of the older generation of painters such as Huang Tieshan and Yin Baokang, as well as the backbones such as Liu Yongjian and Chen Feihu, to sort out and study the construction path and aesthetic characteristics of the color language of Hunan watercolor painting from experience to standardization, analyze the formation background and development context of its color language, convey the unique humanistic feelings and the flavor of the times of Hunan watercolor, and provide theoretical basis and practical inspiration with regional characteristics for the diversified development of Chinese watercolor painting.

As the core visual language of oil painting art, color serves as a crucial carrier for painters to convey emotions, construct artistic conception and express thoughts. Since the birth of oil painting, the application of color has been constantly evolving with the changes of artistic trends and the advancement of painting techniques, forming distinctive color styles and expression systems. Taking the application of color in oil painting as the core research object, this paper analyzes it from three dimensions: the emotional expression function, the spatial shaping value and the theme sublimation effect of color. Combined with the classic works of representative painters in different periods such as the Renaissance, Impressionism and Expressionism, this paper deeply explores the rules and innovative paths of color application. Meanwhile, through the interpretation of techniques such as color matching, tone control and color contrast in specific works, it reveals the key role of color in enhancing the artistic appeal of oil paintings and improving the artistic value of works, so as to provide theoretical reference and practical reference for the application of color in contemporary oil painting creation.

In the field of artistic creation, color serves as a crucial visual language and an essential medium for artistic imagery and emotional expression. The construction of such imagery directly impacts the aesthetic and spiritual transmission of a work. To delve deeper into the artistic connotations and diverse expressions of color imagery, this paper conducts a series of analyses focusing on the aesthetic characteristics and practical applications of color imagery. The findings indicate that adopting specific forms of aesthetic and expressive color imagery can significantly elevate the aesthetic level and expressive tension of color imagery, thereby ensuring the depth of research in artistic creation and color art.

Wong Kar-wai’s "Chungking Express" employs colour as a synesthetic narrative tool, visually translating smell, time, and emotion. Moving beyond traditional views of colour as mere atmosphere, this study argues that colour functions as a core narrative and rhetorical system in the film. The analysis examines the visualisation of these three dimensions, concluding with the film’s significant implications for cross-sensory communication, non-linear storytelling, and emotional resonance in visual design.

As a representative figure among 20th-century Chinese artists living in France, Sanyu’s Pink Period( roughly from the 1920s to the 1930s) represents a golden phase in his artistic career, marked by mature style, pure visual language and distinctive artistic conception. This paper takes Sanyu’s oil paintings from his Pink Period as the research subject, and analyzes the thematic features, formal language and aesthetic connotations of this stage by integrating his life experience, artistic context and cultural background.Works from Sanyu’s Pink Period are dominated by low-saturation pink tones, combined with concise, fluent calligraphic lines and compositions featuring ethereal blank space, creating a unique artistic style that embodies both the formal beauty of Western modernism and the freehand spirit of Chinese literati painting. In his works, pink is not merely a visual color, but a multi-layered metaphor reflecting his state of mind, emotions and cultural identity at that time, carrying gentle poetry and reserved loneliness. This paper argues that Sanyu’s natural integration of Eastern and Western artistic characteristics during his Pink Period has provided an important paradigm for cross-cultural artistic creation, possessing irreplaceable value and significance in the history of Sino-Western artistic exchanges in the 20th century.

"The Legend of Zang Hai", a phenomenal hit drama of this year, has reawakened the resonance of ancient color aesthetics in contemporary people through its exquisite costume, makeup, and prop design. Based on the costumes featured in "The Legend of Zang Hai", this paper traces the traditional color matching of costumes in the Ming Dynasty, thereby revealing the correlation between costume colors and various social factors such as politics, etiquette, and economic development. From the perspective of social factors, it explores the color characteristics of Ming Dynasty costumes and the cultural causes behind them, so as to broaden the perspective of research on Ming Dynasty costume colors. The study aims to explain the cultural characteristics of the color matching of Ming Dynasty costumes by taking the analysis of specific costume design examples in "The Legend of Zang Hai" as the basis and combining the literature analysis method with the image demonstration method.

Miao embroidery, as an important ethnic visual cultural resource in southwestern China, combines the complexity of "image skill memory". Its patterns exhibit highly organized and aesthetically consistent characteristics in composition, color, and texture. This article analyzes the cultural background and artistic value of Miao embroidery patterns, explores the current application status of Miao embroidery patterns in modern graphic design, and proposes strategies such as "systematic integration of color and form", "universal rules for cross-cultural adaptation", "procedural paradigm for digital reconstruction", and "systematic application in brand vision" based on these strategies. The feasibility is demonstrated through case studies of design scenarios.

This article uses the three colors black, white, and red in "Goose Mountain" to propose the concept of "ink bones and crimson soul". By integrating traditional Chinese color theory with modern color theory, it analyzes how black, white, and red form a color narrative from the perceptual, associative, and symbolic levels. The study suggests that black and white form the narrative framework through the formal tradition of “ink divided into five colors” and the spatial philosophy of "using white as black", while red carries the soul of emotion and philosophical reflection through the expressive logic of “coloring according to type.” Together, in a structure of tension, these colors jointly present a contemporary interpretation of the aesthetic realm of classical Chinese art.

Taking Changchun's three major historical and cultural districts as the research subjects, this study conducted a survey on the current status and color measurement of buildings with iconic characteristics within these areas. It summarized the existing color layout patterns, revealing that historical and cultural buildings exhibit relatively uniform color schemes compared to residential structures, while commercial buildings, leisure and entertainment facilities, and cultural venues feature more diverse color palettes. Guided by the planning principles of “regional unity” and “individual character,” this study proposes a color palette and planning recommendations. These solutions effectively express regional cultural identity and preserve architectural heritage while establishing a unified online and offline urban image perception model for future city branding initiatives.

Traditional tie-dyeing craftsmanship is facing a crisis of inheritance, making its integration into art curriculum systems a crucial breakthrough for preserving intangible cultural heritage. This paper selects the tie-dyeing related teaching content in junior high school art textbooks as a case study. Through in-depth investigation of current art education practices in secondary schools, it focuses on analyzing specific issues in the implementation of tie-dyeing courses. At the instructional design level, a strategy combining theory and practice is adopted. The lesson introduction phase employs observation methods to stimulate learning interest, while classic work analysis helps students establish a systematic understanding of tie-dyeing art. Multi-dimensional technique demonstrations and image comparisons reinforce knowledge retention, encouraging students to experiment with different techniques and materials for creative practice, thereby comprehensively enhancing their artistic expression and creative design abilities. The paper explores teaching practices and improvement plans for tie-dyeing courses from four dimensions, aiming to provide feasible recommendations for tie-dyeing instruction in secondary art education, promoting the living inheritance and contemporary transformation of this traditional craft in secondary art education.

Blue-green landscape painting is a major genre of traditional Chinese painting with a unique colour language and rich cultural symbolism. Amid the rapid development of cultural and creative industries, the innovative transformation of traditional art in contemporary design has become an important research topic. Based on Saussure’s semiotic theory, this paper takes the colours of blue-green landscape painting as a semiotic system of form and meaning. Combining the needs of modern cultural and creative design, it proposes an application logic:’symbolic recognition—semantic analysis—semiotic translation—contextual reconstruction’. The conclusion provides a theoretical and methodological reference for the modern application of traditional Chinese painting elements, cultural product design, and visual communication.

Traditional colors serve as a primary visual representation of China's outstanding traditional culture, while cultural and creative products act as a key channel for cultural heritage and innovative dissemination. The modern transformation of traditional colors has become a crucial approach to enhancing cultural connotation and aesthetic value in cultural and creative design. To address issues such as homogenization and cultural deficiency in contemporary cultural and creative color design, this article conducts a series of analyses on the modern transformation and practical application of traditional colors in cultural and creative product design. The results indicate that implementing practical strategies such as delving into cultural connotations, innovating transformation techniques, and strengthening market adaptability can significantly enhance the cultural distinctiveness, competitive market advantages, and communication effectiveness of cultural and creative products. This, in turn, promotes the contemporary expression of traditional Chinese color culture and drives the high-quality development goals of the cultural and creative industry.

As the most fundamental and readily available light source for mobile photography, natural light directly determines the color texture and visual expressiveness of images. Mastering the scientific techniques of natural light color capture is an effective way to enhance the imaging quality and communication value of mobile photography. To establish a systematic and practical training system for natural light color capture in mobile photography, addressing issues such as color deviation and improper lighting application in amateur photography, this article conducts a series of analyses and research on methods for training natural light color capture techniques in mobile photography. The results show that specific training approaches— such as building a theoretical framework, reinforcing practical training, and improving training models—significantly enhance learners' abilities in natural light color recognition, reproduction, and creative application. These methods effectively improve the color accuracy, visual clarity, and artistic expressiveness of mobile photography works, thereby providing a scientific basis and practical reference for the popularization of mobile photography skills and the development of professional training courses.

Design color is an important course in art design majors, mainly serving as a link between color theory and design practice. It is an important way to cultivate students' aesthetic literacy, color application ability, and innovative thinking. Traditional design color teaching has the problem of disconnection between theory and practice, which is difficult to meet the social demand for art design professionals. Promoting the innovation of design color teaching mode can effectively improve the quality of course teaching. Based on the analysis of the current situation of design color teaching and combined with the talent training goals of art design majors, the dimensions of teaching concepts, contents, methods, practices, and evaluation mechanisms can be summarized to explore new paths for color teaching, providing theoretical references and practical references for cultivating design talents that meet industry needs.

As an important carrier in the field of art therapy, painting color plays a unique therapeutic value in the practice of psychological education in universities. Color psychology theory provides a scientific basis for the healing effects of painting art. Different color wavelengths produce differentiated stimuli to the emotional areas of the brain. Warm colors can stimulate positive emotions and creative vitality, while cool colors can promote emotional regulation and introspective thinking. By constructing a trinity color healing model of individual counseling, group counseling, and crisis intervention, psychological education in universities can effectively identify the characteristics of college students' psychological distress, alleviate academic anxiety, interpersonal difficulties, and emotional fluctuations. The non-verbal expression characteristics of color painting therapy break through the limitations of traditional psychological counseling, providing an effective way for introverted students to vent their emotions, and demonstrating significant advantages in personality improvement and innovative thinking cultivation.

The research focuses on the impact of multimedia courseware color design on high school students' learning effectiveness, aims to clarify the specific relationship between the two, clarify the practical role of color design in high school students' learning process, and explore the effective path to optimize multimedia courseware color design, in order to provide practical reference for high school teachers to design multimedia courseware, help teachers use color elements more reasonably in courseware design, so that courseware can not only accurately transfer knowledge, but also help students maintain a good learning state through appropriate color design, so as to improve the quality of high school classroom teaching and promote the improvement of high school students' learning effectiveness.

In high school art education,color perception and artistic expression are essential for cultivating students'aesthetic literacy and creativity.Their interaction deepens understanding of color theory while developing creative thinking and individualized expression.This paper explores the interactive mechanism between color perception and artistic expression in high school art classrooms,analyzes their relationship and functions,and proposes teaching approaches including contextualized observation systems,progressive practical activities,and multicultural resource integration,establishing their interaction as an effective pathway for enhancing students'core competencies.

High school art education is not only a process of imparting skills, but also a process of promoting students' psychological development and guiding them to find ways to express their emotions. This article focuses on the interaction between emotions, body, and color in high school art education. Referring to the logical relationship between the three elements based on art education, further starting from these three aspects, it proposes to create scenarios based on emotional awakening, stimulate creative enthusiasm based on physical perception, enhance artistic expression based on color application science, regulate emotional states, and strive to use the art classroom as a driving force to link emotions, body parts, and color elements, reconstruct the psychological dimension of art learning students, and enable students to engage in learning with a positive psychological state. They also learn to fully link color with emotions and body parts, reconstruct the psychological dimension of art learning, and deeply and truly experience the artistic characteristics and connotations of art subjects.

Color appreciation teaching serves as a vital component of middle school art education, playing a crucial role in cultivating students' artistic core literacy. How to effectively conduct color appreciation teaching from the core literacy perspective has become an urgent practical issue. This research, based on the cultivation requirements of core literacy in middle school art subjects and combined with actual teaching practices, clarifies the principles of color appreciation teaching under the core literacy framework. The study proposes comprehensive teaching strategies including: constructing multi-dimensional observation systems, deepening technical analysis training, conducting innovative experimental activities, and exploring cultural value connotations. These findings aim to provide practical reference for teachers implementing color appreciation instruction within the core literacy development framework.

Color sketching is a very important practical carrier in middle school art teaching activities, and its teaching effectiveness is related to the improvement of students' aesthetic literacy. To enhance the aesthetic literacy of junior high school students, this article conducts a series of analyses and research on the role of color sketching teaching activities in empowering junior high school students' aesthetic literacy. The results indicate that adopting innovative teaching paradigms, constructing diverse evaluations, integrating resource supply and other teaching strategies significantly improves the aesthetic literacy of junior high school students, thereby promoting the high-quality development goal of junior high school art education.

Painted pottery, as a splendid treasure of China's prehistoric civilization, its patterns and color matching carry the aesthetic wisdom and cultural codes of the ancestors, and are an important carrier of traditional cultural inheritance. Integrating the content of color matching of painted pottery patterns into junior high school art teaching is not only an important path to implement the goal of cultural inheritance and innovation under core literacy, but also an effective means to improve students' aesthetic ability and cultivate humanistic feelings. Based on the requirements of the times for traditional cultural inheritance and combined with the characteristics of junior high school art teaching, this paper discusses the implementation strategies of color matching teaching of painted pottery patterns from four dimensions: teaching value positioning, teaching content construction, teaching method innovation and teaching evaluation optimization. It aims to provide theoretical reference and practical ideas for the effective integration of traditional culture into junior high school art teaching, and help students feel the charm of traditional culture in color learning and enhance their cultural confidence and innovative awareness.

Classical poetry serves as the core carrier of China's outstanding traditional culture, rich in color imagery and aesthetic connotations. Color expression is a key competency in visual creation for junior high school art education, bridging literary aesthetics and visual representation. Based on practical teaching scenarios, this paper focuses on color expression as the central orientation to analyze instructional strategies for integrating classical poetry into visual creation. It proposes strategies such as delving into poetic color imagery to solidify the foundation of visual creation, strengthening color technique training to enhance expressive capabilities, innovating classroom teaching methods to stimulate creative engagement, and improving the teaching evaluation system to reinforce feedback on teaching effectiveness. These approaches aim to support the enhancement of visual creation teaching quality in junior high school art, elevate the color expressiveness of artworks, and demonstrate the value of classical poetry in educational practice.

Color teaching in junior middle school art is essential for developing students’ aesthetic perception and emotional expression. However, current practices often involve superficial perception, limited tools, and insufficient emotional engagement, making it difficult for students to achieve deep psychological experiences. Based on color psychology and experiential learning theory, this paper proposes psychological experience–oriented teaching strategies. It incorporates digital color interaction tools, digital painting software, and color resource platforms, and constructs a teaching pathway around four dimensions: perceptual activation, emotional connection, situational immersion, and creative transformation. Using the Shanghai Fine Arts textbook (Five-Four system) as a reference, this study aims to promote a shift from surface-level knowledge to deeper psychological experience, providing practical guidance for teachers.

The digital age has arrived, which has transformed the traditional teaching model and provided teachers with more channels when introducing resources and presenting knowledge. For students, they can also enhance their ability to understand knowledge by self-studying through the use of digital technology. Digital technology empowers color teaching in junior high school art, which can create vivid teaching scenarios and solve various problems such as scarce resources and single teaching forms in traditional color teaching. This article explores the value and specific strategies of color teaching in junior high school art in the digital age, hoping to provide some reference suggestions for teachers and students, making the color classroom in junior high school art more vivid and interesting. With the support of digital technology, students can also enhance their selfstudy ability and artistic literacy, and by learning about art color knowledge, they can open the door to the world of art.

With the implementation of the "Double Reduction" policy, school club activities have been further strengthened in terms of form, content, and organizational structure. Watercolor painting offers advantages that other painting forms do not possess, such as convenient tools and broad artistic inclusivity, and it plays a significant role in color enlightenment education in China's art curriculum. Color learning is an essential foundational component of art education at the primary school level. To enhance primary school students' color learning abilities and core artistic competencies, this study investigates the current state of color learning in primary schools and aims to explore effective teaching strategies for color instruction in watercolor painting clubs. It also seeks to provide innovative practical examples for color teaching in primary school art clubs.

In the practice of primary school art education, the cultivation of color perception ability often has certain limitations. Many primary school art teachers' teaching mostly stay in the simple explanation of the basic properties of color or organize students to carry out mechanical color mixing exercises, and fail to fully guide students to associate color perception with life reality, emotional experience and cultural background. In order to solve this problem, the research puts forward strategies to cultivate students' color perception ability from three aspects: guiding students to observe the nature of life, carrying out interesting color experiments, and integrating color culture cognition into teaching, aiming to provide practical reference for primary school art teachers to carry out color teaching.

In elementary school art education, color is one of the core elements. It can cultivate students' aesthetic perception, artistic expression, and innovative thinking. The effectiveness of its teaching is directly related to the quality of the art education's educational function. To improve the quality of color teaching in elementary school art, this article conducts a series of analyses and research focusing on practical approaches to color teaching within the field of elementary art education. The results indicate that implementing practical strategies such as updating teaching concepts, innovating teaching methods, and optimizing the evaluation system can ignite students' potential in color perception and creation. Furthermore, it promotes the coordinated development of artistic literacy and a well-rounded personality, thereby continuously advancing the reform process of color teaching in elementary school art.

Rooted in the philosophy of the Five Elements (Wuxing) and the observation of nature, the traditional Chinese color system carries profound cultural significance. However, its educational potential in primary school art instruction remains under-explored. The new National Curriculum Standards designate "Cultural Understanding" as a core competency, requiring the integration of excellent traditional Chinese culture into the curriculum, which provides a pedagogical basis for bringing traditional colors into the classroom. This paper analyzes the core connotations and educational value of the traditional color system and examines the current knowledge-oriented tendencies and practical dilemmas in color teaching. It then explores integration pathways through four dimensions: enlightenment via natural observation, cognition of traditional color nomenclature, appreciation of classical artworks, and project-based creative practice. Furthermore, the paper proposes supportive recommendations to provide a reference for the cultural expansion of color teaching in primary schools.

The color system of Xiguan commercial and trade culture, shaped by Guangzhou's regional climate and historical commercial and trade background, combines practicality with aesthetics, serving as a significant visual carrier of Lingnan culture. This system has inherent interdisciplinary connections with material science and environmental psychology, effectively facilitating the implementation of interdisciplinary art education courses in primary schools. By sorting out its explicit color symbols and conducting digital encoding, analyzing the implicit rules of color combinations, and exploring the mechanisms of color emotion transmission, a scientific and comprehensive curriculum system can be constructed. Through implementation paths such as cultural immersion, interdisciplinary collaboration, and work evaluation and analysis, disciplinary barriers can be broken down, helping students understand color knowledge, perceive regional culture, and achieve a profound integration of art education, cultural heritage, and multidisciplinary knowledge.

Color art activities are an important part of kindergarten aesthetic education. They are important places for children who are 3-6 years old to understand color, express emotion, and enhance their sense of aesthetics and creativity. The existing color art programs in kindergartens are still constrained by the old teaching model with problems like inflexible format, single materials and identical instructions. Children’s creative freedom is restricted, superficial color experiences occur, individual expression does not happen, and it doesn't fully teach us about the purpose of aesthetic education. As the further deepening of digital education, bringing Artificial Intelligence into preschool education can bring some new possibility innovations to Color Art Instruction. Based on kindergarten’s educational practices, it is trying to find out the values and practice approaches of AIassisted colored art activities which can help to break the limitations of traditional teaching and connect color activities back to kids’ nature for quality preschool aesthetics education.

Infants and young children belong to an important stage of sensory development and dietary habit formation. Color can serve as a core element for stimulating visual senses, playing a very important role in the field of complementary feeding. In order to unleash the value of color sensory experience in the teaching of "Rainbow Food" in the field of childcare, this article conducts a series of analyses and research on the application of color sensory experience in the teaching of "Rainbow Food" in the field of childcare. The results indicate that adopting specific application strategies such as scientifically designed formulas, innovative teaching methods, and establishing safety standards has significantly improved the quality of complementary food teaching activities in childcare, thereby providing more professional teaching support for the scientific feeding of infants and young children.

Color games represent one of the significant educational approaches in the development of perception and cognitive abilities in junior kindergarten children, promoting the comprehensive development of their observation, thinking, and expression skills. To continuously enhance the cognitive development level of these young children, this paper analyzes and researches from the perspective of applying color games in their cognitive development. Through methods such as multi-sensory interactive activities, life-oriented infiltration and extension, and interactive cooperative games, children's perceptual abilities, thinking levels, and emotional expression skills can be improved. Furthermore, a systematic, game-based, and life-oriented implementation system for color games can be established, facilitating the all-around development of children's cognitive abilities.

Traditional Chinese opera culture boasts a long history, with the art of facial makeup employing distinctive symbolic language and a vibrant color system to express ethnic aesthetics. Introducing this ancient art form into early childhood education aims to explore a new approach that integrates cultural heritage with foundational cognitive development, providing children with an intuitive and vivid way to learn about colors and invigorating the vitality of traditional culture in contemporary times. To significantly enhance children's color recognition abilities, this study conducts a series of analyses focusing on simplified painted facial makeup and color cognition methods for young children. The findings indicate that strategies such as simplifying facial makeup design language, using concrete color theory knowledge, and integrating modern communication mediums can not only effectively preserve opera culture but also serve as a crucial vehicle for fostering children's color cognition, thereby promoting the synergistic development of cultural enlightenment and cognitive abilities.

The colors of Zizhong puppets contain rich cultural, aesthetic, and educational values. The logic of color combinations and the symbolic meanings in folk traditions can not only empower early childhood teachers in artistic creation for aesthetic education but also help cultivate children's aesthetic literacy and initiate them into intangible cultural heritage. To extract the value of the color elements of Zizhong puppets, this article conducts a series of analyses and studies on the methods of applying these color elements in the practical activities of aesthetic education and manual creation for early childhood teachers. The results show that adopting specific application strategies, such as breaking through disciplinary barriers, leveraging digital technology, deepening collaboration between schools, localities, and kindergartens, and pooling resources from families, schools, and communities, can comprehensively enhance the comprehensive teaching abilities of early childhood teachers and improve children's comprehensive qualities, including aesthetics, practical skills, and critical thinking. This, in turn, ensures the effectiveness of high-quality aesthetic education and manual creation practical activities.