Emoción cromática: relación entre el color en la dirección de arte y la evolución narrativa del protagonista.

Abstract

The aim is to strengthen the dramatic content of a story or audiovisual narrative through what is not said but is implicit in the staging, in the image itself. The way human beings feel is driven by instinct; however, what determines the response is character and personality, but it is necessary to keep in mind that our cultural upbringing leads us to fall into commonplaces. These commonplaces, in this case, are the associations we make through imminent characteristics of the world, which behave like visual codes, and which we digest without reflection. For Isaac Newton, color is a sensation that occurs in response to a nervous stimulation received by the eye from a wavelength of light. Therefore, the human eye interprets different colors according to the wavelengths captured by its retina. If we were to select the color red, for example, when we see it, it is because we are observing a surface that absorbs all electromagnetic waves containing white light, except for the red one, which is reflected before our eyes and our brain conceives as red. Consequently, visual perception unconsciously comes into play, stimulating our feelings and evoking situations or circumstances that we associate with moments, memories, or emotions. The German poet Johann Wolfgang Von Goethe, a disciple of Newton, also studied color transformations and demonstrated the organic, functional, and psychological changes that humans undergo when exposed to color. This Bachelor's Thesis (hereinafter TFL) is part of the Art Direction area, emphasizing the creation of a color palette linked to the dramatic curve of the protagonist.