How To // Info-Graphics

Various Info-Graphics i have been inspired by and collected on my personal blog over a period of time...

source // web designer

source // ffffound

How to ask for forgiveness - Quantitive Research

Forgiveness in Religion

Most of us have heard all these phrases when people begin to speak about forgiveness and what they think it means. Though the meaning of forgiveness can be argued, almost everyone agrees on its importance. So with that in mind, here are some basic facts about forgiveness they apply in our everyday lives.

1. When we can't forgive, it affects our relationship with others.

A. Unforgiving affects our relationship with the one we cannot forgive. 

Unforgiving sets up a barrier between ourselves and the other person. We can't or don't want to speak about the problem or things that remind us about the problem. When the person who as hurt us brings up anything that reminds us of the problem, we often become angry or frustrated and respond in one of two ways; we either begin to yell and say things we regret, or we become silent and refuse to speak. Either way, it affects the relationship and keeps it from becoming the best it can be.

B. Unforgiving affects our relationship with others. 

When we can't forgive somebody for something, that topic becomes a sensitive area in our lives. Sometimes we begin to see the same problems in others and try to avoid those people. Sometimes someone else will bring up the sensitive topic, either intentionally or unintentionally. Since most people don't really like to talk about a weakness in their lives, in these situations we usually don't respond very well. It becomes known as an area that others try to avoid, and you lose that candidness most people enjoy in others. This limits the number of people we can have a true, open relationship with and pushes many others away.

C. Unforgiving affects our relationship with God.

God plainly says in Matthew 6:15, "If you forgive not men their trespasses, neither will your Father forgive your trespasses." It is a command from God to forgive others "even as God, for Christ's sake hath forgiven you." (Eph 4:32) So, when we don't forgive, we are sinning against God. Isaiah 59:2 tells us, "But your iniquities have separated you and your God, and your sins have hidden His face from you, that He will not hear." It is probably fairly safe to say that when someone cannot hear us, we cannot have the best of relationships with them.

2. The second fact about forgiveness is that it is a choice, or rather, it begins with a choice.

Though forgiveness is much more than words, it must begin there. People are funny in that they need to hear the words dealing with our deepest emotions - some more, others less. But we also know the phrase "actions speak louder than words." People need to not only hear the forgiveness, but they need to see it through actions. Both words and actions must begin with the choice to "just do it." It is not always easy, but that means you choose not to get angry when your friend forgets to return your book or tells a lie about you. You choose not to say something hurtful in return or to not "forget" to return their book the next time you use it. Eventually you will find that you actions become habits and these things really begin to bother you less and less. And you never know, forgiveness itself might just become a habit.

3. We cannot forgive without God's help.

In the Lord's Prayer Jesus taught us to pray, "forgive us our debts as we forgive our debtors." This is in a list of things that we are asking God to do for us; like, "give us this day our daily bread," or "lead us not into temptation." God knew we would need help that is why He gave us the example of His Son, so we could forgive others as He forgave us. One of the last things Christ said on the cross was, "Father, forgive them." If I truly want to be like Christ, I must realize that I must forgive, especially in the most impossible situations. And for that strength, we must ask God for help, remembering that, "what is impossible with man is possible with God."

4. And last of all, for forgiveness to be full and complete, it must come from the heart.

Forgiveness must result, not just in a change of mind, but in a change of feelings. When God offers us forgiveness, He also offers us the relationship of sons and daughters with Him. Now that does not mean we must adopt everyone we forgive, but take a good look at John 3:16. "For God so LOVED the world...." True forgiveness results in a changing of our emotions and feelings and eventually in our relationship. It changes the position of the person who has offended us from enemy to friend (trust is however another issue). You might say that an evidence of deep, true forgiveness is the presence of a deep love for that person that you would be willing to put their needs above your own. It is an unexplainable occurrence without the love of God in our hearts.

So, in conclusion, though there may be many "facts" about forgiveness, it is really not a fact at all. Forgiveness is a matter of the heart. A matter of a heart that is so patterned after God that His love flows through us and ultimately so does His forgiveness.

[Quantitive Research // Secondary Research]
[Source // BUZZLE]

How to ask for forgiveness - Qualitative Research

1. When we can't forgive, it affects our relationship with others.

A. Unforgiving affects our relationship with the one we cannot forgive. 

B. Unforgiving affects our relationship with others. 

2. The second fact about forgiveness is that it is a choice, or rather, it begins with a choice.

3. We cannot forgive without God's help.

4. And last of all, for forgiveness to be full and complete, it must come from the heart.

[Qualitative Research // Secondary Research]
[Source // BUZZLE]

How to ask for forgiveness - Primary Research

Here is some more feedback from my survey. So far 20 people have taken it and i will keep the link live so that hopefully more people will take it so i get a bigger percentage and therefore more accurate results.   This survey has been a good way to get the general view of the public, all different ages and also to get unbiased accurate results. The results so far are as follows...

Colour Theory Notes - Part One, Two, Three and Four

Part One - Systematic Colour 

An interesting experiment to show how the brain works. Most people can read this paragraph without any problems just because the first and last letter of each word are in the same place, every other letter is mixed up.

If we now look at this with green text on a red background it all starts to become wobbly and gives us a bit of a headache. This is due to the fact that the colours are contrasting colours on the colour wheel. When placed on top of each other they start to battle with each other for our attention and this is the result.

Colour Spectrum and how the eye perceives colour.

The eye contains two kinds of receptors, rods and cones. Rods let us see tones (shades of grey) and the cones allow us to see colour. The cones work off the RGB colour spectrum. One cone is sensitive to RED light, one to BLUE light and one to GREEN light. when each cone is stimulated this is what colour we see and this also works mixing colours such as green and red will make us see yellow.

Primary colours differ between the two different colour modes RGB and CMYK.

Colours that are shown with light shone through a prism are called spectral colours. These colours are Red, Orange, Yellow, Green, Blue, Indigo or Violet. 

Secondary colours are the colours created by mixing any two primary colours. for example...

Red and Yellow make Orange 
Red and Blue make Violet
Yellow and Blue make Green. 

Then theres mandatory colours. These are created when mixing two secondary colours together. These are all shown on the diagram above. Mandatory on the outside ring. Secondary on the three middle triangles and primary on the centre three triangles.

RGB (top) and CYMK (bottom)

The eye cannot differentiate between spectral yellow and a combination of red and green (forming yellow). This also has the same effect with perception of cyan, magenta and every colour in between spectral colours.

This means our eye is fooled into seeing a whole range of colours just my mixing the three primary colours, RED, GREEN and BLUE (see below).

Subtractive Colour

Additive Colour 

Primary colours are the base of the additive colour system. The spectral colours are reduced to Red, Green and Blue.

Territory Colours 

There are also Territory colours. These are browns and greys that are created by mixing all three primary colours or mixing a primary and a secondary colour.

The territory colour created by mixing the primary colour Green with the secondary colour blue would be called 'Green-Blue'. Thats the easiest way to remember the names.

Part Two - Systematic Colour

Dimensions of Colour

Cyronmnic Value = HUE + TONE =SATURATION 



Desaturation through Chromatic Value. 


Desaturation through both. 


HSL (a–d) and HSV (e–h). Above (a, e): cut-away 3D models of each. Below: two-dimensional plots showing two of a model’s three parameters at once, holding the other constant: cylindrical shells (b, f) of constant saturation, in this case the outside edge of each cylinder; horizontal cross-sections (c, g) of constant HSL lightness or HSV value, in this case the slices halfway down each cylinder; and rectangular vertical cross-sections (d, h) of constant hue, in this case of hues 0° red and its complement 180° cyan.

Source // Wikipedia

Subjective Responses 

This is when the background that the colour sits on changes your interpretation of the colour.

For example, we all know that this is a vibrant red sitting on a grey background below.

However, This is the same red but now sitting on an even more vibrant red background. The original red, now looks really dull because of the brighter red behind it.

The red and orange placed together on this grey background. Bright red, Bright orange.

When a brighter red is placed behind the original red, next to the orange this now looks really pink.




"Pantone colours are an agreed, industry standard set of colours that can be matched to accurately over a variety of processes, equipment and materials. They are identified as a series of numbers instead of names (except with fashion colours), so you will hear the reference PANTONE 2985 C instead ofSky Blue. This helps a great deal as one person's idea of what Sky Blue is may be very different to another person, but with a number you can refer to the chart and you know exactly what you are getting. Keeping colours consistent is a big issue with Infiniti Mixed Media and is very difficult to do over different systems like print and the web. A certain amount of colour shift is inevitable, but I work hard to try and keep this to a minimum"

Text Sourced From PANTONE


The Pantone Color Matching System is largely a standardized color reproduction system. By standardizing the colors, different manufacturers in different locations can all refer to the Pantone system to make sure colors match without direct contact with one another.

One such use is standardizing colors in theCMYK process. The CMYK process is a method of printing color by using four inks—cyan, magenta, yellow, and black. A majority of the world's printed material is produced using the CMYK process, and there is a special subset of Pantone colors that can be reproduced using CMYK[citation needed]. Those that are possible to simulate through the CMYK process are labeled as such within the company's guides.
However, most of the Pantone system's 1,114 spot colors cannot be simulated with CMYK but with 13 base pigments (15 including white and black) mixed in specified amounts.[6]
The Pantone system also allows for many 'special' colors to be produced such as metallics and fluorescents. While most of the Pantone system colors are beyond the printed CMYK gamut, it was only in 2001 that Pantone began providing translations of their existing system with screen-based colors. (Screen-based colors use the RGB—red, green, blue—system to create various colors.)[7] The Goe system has RGB and LAB values with each color.[8]

Pantone colors are described by their allocated number (typically referred to as, for example, 'PMS 130'). PMS colors are almost always used in branding and have even found their way into government legislation (to describe the colors of flags). In January 2003, the Scottish Parliament debated a petition (reference PE512) to refer to the blue in the Scottish flag (saltire) as 'Pantone 300'. Countries such asCanada and South Korea and organizations such as the FIA have also chosen to refer to specific Pantone colors to use when producing flags. U.S. states includingTexas have set legislated PMS colors of their flags.
Text Sourced at Wikipedia

If you want to work with colour in design it has to be SYSTEMATIC

Part Three - Colour and Contrast

The eye can be fooled into seeing a whole range of visible colours through the proportionate adjustment of the three primary colours; Red, Green and Blue.

Ittens 7 Contrasts 

  • Contrast of TONE
  • Contrast of HUE
  • Contrast of SATURATION
  • Contrast of EXTENSION
  • Contrast of TEMPERATURE
  • SIMULTANEOUS Contrast 
Contrast Of Tone 

The contrast of TONE is formed by the juxtaposition of light and dark values. This could be monochromatic (see below)

The grey background is the exact tone in between white and black. Therefore the white and black 'wprd' stadn out the same against this tone as they are the same distance away from the grey in tone. 

The orange and red colours are very similar in tone, thats why it is hard to see the word on the background. 

Red and blue also have similar tones. The blue stands out on red as it is far away on the colour wheel but again we start to get this hazy, fuzzy, blurred effect and this is because the tones of red and blue are very similar. 

Contrast of Hue

This is formed by the juxtaposition of different HUES. The greater the distance between hues on the colour wheel, the greater the contrast. 

Here, the yellow sits back and the red and blue jump forward on a white background. 

When placed on a black background, the yellow now jumps forward as it is the furthesy away from black out of the colours. 

when all colours are placed together, to me, they all start to battle for your attention. 

Shown here with words on different backgrounds. 

Contrast of Saturation

This is formed by the juxtaposition of light and dark values and their relative saturations. 

Blue on a grey background

When a brighter blue is added, the other blue appears way more saturated, and looks slightly grey now. 

When an even brighter blue is added, the other two look more saturated. Now the previous bright blue does not look so bright. 

This carries on. 

Contrast of Extension

This is formed by assigning proportional field sizes in relation to the visual Weight of the colour. Also know as contrast of proportion. 

As you can see, the amount of one colour and how the colour is placed can determine how you perceive the colour. For example, the bottom image with the lines spread out is hard to view, it starts to get messy and blurry but the top two work okay with more yellow and purple at one side. The middle is also pretty hard to view with the purple line splitting up the yellow. 

Contrast of Temperature 

This is formed juxtaposing hues that can be considered warm and cool. Also known as the contrast of warm and cool. 

Red on Grey 

By addind a red more towards pink to the left of the red this seems cooler than the warmer red. 

Again by adding a warmer red on the other side makes the other two look cooler. 

We can see that each colour is a separate colour and tone from the others with these black dividers in place. 

When we take them away, the colours seem to work as one gradient. Each box looks like it is darker on one aide than the other but we know it isnt. This is or eyes fooling us because o f the colours placed next to it, it changes our perception of colour due to temperature.

Complimentary Contrast

This is formed by the juxtaposition of complimentary colours from a colour wheel or perceptual opposites. 

Equal amount of black and white fighting for our attention = headache. 

Red and green / blue and yellow are complimentary colours. They again fight for our attention which = a headache. 

Simultaneous Contrast 

formed when boundaries between colours perceptually vibrate. 

Part Four - Subjective Colour 

choice of type, position and how much space it is taking up affects the perception of it.

Green on yellow.

When the green is added to the background middle image looks like it had a gradient from green to yellow even through we know its the same colour.

Darker the colour, the more this looks yellow.

Dark grey letter on light grey background.

Top grey word starts to look purple with the introductory of green. purple being the complimentary colour.

We know its the same colour but it seem like a gradient. 

Even more visible here. Grey word looks green.

Even more so with both the colours now.

When we join them we can see the grey is the same colour. 

If you stare at the black dot in the middle of this cross for a minute then look at a clear surface, the red cross will be temporarily burnt into your retina. Therefore you will continue to see the cross for up to an hour after viewing it.


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