essay for true colors

The Psychology Behind the True Colors Personality Framework

This essay about the True Colors Personality Test offers an engaging exploration of how the test categorizes personalities into four colors: Blue, Gold, Green, and Orange. Each color represents distinct traits and behaviors, making the test a popular tool for simplifying the complex nature of human personalities. The essay highlights the test’s appeal in its straightforward approach to understanding oneself and others, promoting empathy and team cohesion through easy-to-identify color groups. Despite acknowledging criticisms of oversimplification, the essay defends the test as a valuable starting point for deeper self-exploration and interpersonal communication. It emphasizes the test’s role in sparking conversations about personality differences, advocating for its use as a complementary tool in personal and professional development contexts.

How it works

Ever wondered if your personality had a color? The True Colors Personality Test says it might just be blue, gold, green, or orange. Picture this: an easy-to-digest quiz that doesn’t need you to be Freud to figure out. It’s like having coffee with a friend who tells you, “Hey, you’re such a Gold,” meaning you’re the dependable organizer of your group, or a “total Blue,” the one who’s always got a shoulder ready for others to cry on.

The charm of the True Colors test is in its simplicity. You’re not getting bogged down with jargon or needing a psych degree to get the gist. Instead, you get a color that speaks volumes. Blues are your empathetic friends, Golds are your planners, Greens are the curious thinkers, and Oranges? They’re the life of the party. It’s almost like having superpowers grouped by color, where each has its unique flair.

Sure, some might say, “Hey, you can’t just box everyone into four categories!” And they’ve got a point. People are complex, but that’s exactly why True Colors is a hit. It’s not about putting you in a box; it’s about peeling back layers to find what makes you tick, and it’s a fantastic icebreaker or team-building secret weapon. It teaches us to appreciate why the Blues of the world are so darn caring or why the Oranges seem to have an endless supply of energy.

Now, don’t go quitting your day job because a test dubbed you a Green, thinking you’re the next Einstein. It’s a guide, not a gospel. Use it to spark a bit of introspection or to smooth over team dynamics at work. It’s about understanding and celebrating the rainbow of personalities out there.

Wrapping up, the True Colors Personality Test offers a snapshot of the colorful array of human traits. It’s a fun, relatable way to say, “This is me, and here’s my color.” It’s not the end-all-be-all of personality assessments, but it’s a great conversation starter about our differences and strengths. In the end, whether you’re a Blue, Gold, Green, or Orange, it’s all about learning to navigate the colorful tapestry of human connections, one hue at a time.

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Essays About Colors: Top 5 Examples Plus Prompts

Color allows us to see the world in all its natural beauty. If you are writing essays about colors, you can start by reading some essay examples. 

Almost everyone has gotten a glimpse of the wonders of colors, but what are they? To be precise, color is scientifically defined as “ the aspect of things that is caused by differing qualities of light being reflected or emitted by them .” When light shines on objects, it reflects, producing different shades of light and allowing us to see and differentiate colors. 

Colors are powerful tools that can make or break how we view things. They are essential factors in inspiring the solitude of a small forest, the intimidation that a volcano provokes, and the sheer mystery of the deep ocean. They help us know when to “stop” and “go” on the road and which plants and animals are toxic. Most cannot imagine a world without color because of its near-essential role in our lives.

To start writing essays about colors, look at some of our top essay examples below. 

1. An Essay on Color by Melih Mert

2. the wonder of nature’s colors by kelly johnson, 3. the power of color by kerry nash.

• 4.  World without colour by Ella Gray
• 5. ​​The Meaning Behind the Many Colors of India’s Holi Festival by Victoria Finlay

1. Favorite Colors

2. colour blindness: what is it and how does it affect people, 3. how does color impact perception, 4. the use of color in culture and religion, 5. art and colors.

“Each color conceals a story. Some virtuous and sensitive eyes see the truth through them, while others see rage, anger, and all the evils dictated by the alter ego. Colors carry such feelings as anger and hope, and symbolize such concepts as sinfulness and innocence. They are abused or sacrificed, and widely preferred or despised.”

This essay gives readers a brief overview of color, starting with a basic definition. Next, Mert discusses human responses to colors, the meaning of colors in different cultures, and the use of colors in different religions, governments, and organizations. To an extent, different colors evoke different emotions and qualities and can be used to control people’s perceptions. 

“Mother Nature’s palette is one of the most magical because it is perfectly suited to every circumstance. It is beautifully ever-changing, with the seasons, time of day, and geographic region. A bright yellow flower signals insects to come pollinate, while a bright red flower attracts hummingbirds. A blue sky tells us no need for an umbrella, while green grass tempts us to remove our shoes and enjoy the cool softness. The mysterious power of color affects every aspect of this bio-diverse world.”

Johnson opens a children’s outdoor activity tutorial with this essay, in which she discusses how colors contribute to nature’s beauty. Color affects our mood, so it is no surprise that nature’s bright, satisfying color palette is perfect for kids to enjoy. She also briefly explains the importance of introducing children to color- it sparks creativity and increases their awareness. 

“In conclusion, color is life and as matter of fact, it is everything. It determines the mood anyone could have within those inner rooms. Therefore, it is imperative that while trying to set up either of your living room, bedroom, kitchen or dining room, the right color combinations are used. These will not only make those rooms attractive, but also determine the level of productivity that could occur there.”

In Nash’s essay, she elaborates on the importance of color choice, particularly in interior design. Specific colors make a room feel more spacious, relaxing, and luxurious, and different colors work well for different rooms. Nash suggests some color combinations and their supposed effects on humans and reminds us that color choices can “make or break” a house. 

4.   World without colour by Ella Gray

“We’d lose all sight for which was which, basically normal organisms wouldn’t be able to tell the difference from one thing to another resulting in chaos. Emotionally and Mentally: Our world would seem depressing and very dark and disturbing. Some would enjoy this, while others would not because a world without colors means a world with no life. We basically need colors to help us get through the day and without them…life would be sad.”

Gray speculates on what the world would be like if we could not see colors- we would not be able to distinguish objects from one another as well. She also gives several examples of the beauty of color, including in landscapes, animals, cosmetics, and clothing. Her essay reveals how we take our ability to see color for granted, as we do not realize how depressing a world without color would be. 

5. ​​ The Meaning Behind the Many Colors of India’s Holi Festival by Victoria Finlay

“You might say something similar about how colors work in India. On the surface, they provide pleasure as well as useful signals of tradition and ritual. But if we’re attentive, colors in India also remind us of that which is easy to forget: the evasive nature of matter, and of our own special relationship with light, whatever that light may be.”

In her essay, Finlay reflects on the Indian festival of Holi and its prominent use of color. She describes the beauty she encounters as she watches the festival and explains the religious context of the festival. She explains the different colors used, such as yellow, blue, and indigo, and their meanings in Indian culture. Colors are significant in Indian culture and remind us of light, whether actual light or the “light” of the divine entities the Indians honor. 

Writing Prompts On Essays about Colors

Plain and simple, you can write your essay about your favorite color. Explain why it is your favorite, what it means to you, and how you feel when you see it- perhaps you associate it with specific memories or people. Your essay should include personal anecdotes based on your own opinion. 

Color blindness is a phenomenon in which people have difficulty telling the difference between specific colors. Do some research on the topic and discuss the impacts that color blindness has on people. If you are color blind, reflect on how you see color, but if you are not, you must base your essay on the online experiences of color blind people. 

From room interiors to clothing to animals, color can make a striking difference in the way we perceive things. Think of examples in which something’s color impacts your impressions of it, and explain how other colors or combinations may change your perception. You can give either one example or multiple, but be sure to explain it in sufficient detail. 

For your essay, write about a cultural or religious tradition involving color. It can be an art form, festival, ritual, or anything else you can find, including Holi, the festival discussed in Finlay’s essay. Write about the cultural significance of colors in this tradition; you can also include a brief reflection on the tradition and colors. 

Similarly, you can write about the impact color has on a work of art. Choose a painting, photograph, film, or anything else, and analyze the color choices. Write about the role color plays in work- explain its effect on the viewers and how it could make them feel. 

For help with this topic, read our guide explaining “what is persuasive writing ?”

Tip: If writing an essay sounds like a lot of work, simplify it. Write a simple 5 paragraph essay instead.

Martin is an avid writer specializing in editing and proofreading. He also enjoys literary analysis and writing about food and travel.

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Essay: 'True Colors' Embraces Homeless LGBT Youth This Holiday

The 2015 holiday season is fast approaching. Soon families across America will gather with loved ones to give thanks and celebrate. For young LGBT men and women like myself, however, this could be the most stressful time of the year.

The promise of holiday cheer can quickly turn to a frightful period flush with disappointment and rejection from disapproving parents and family members. The problem of LGBT youth homelessness is particularly acute at this time, as many are driven from their homes feeling unloved and alone.

At age 19, I had no home to go to. When school wasn't in session I lived out of a suitcase.

Eschewing cozy Norman Rockwell depictions of the holidays, I'm thinking a lot about these young people now, as my mind rewinds to an event last spring, where a permanent art collection for True Colors Residences was unveiled.

True Colors is a supportive housing unit for homeless LGBT youth and their special needs. I was one of eight contemporary artists working with Art Connects (which places museum-quality exhibitions in New York City's social service spaces, free of charge), selected to create a display inspired by residents of the True Colors Harlem facility.

In the United States, 40 percent of runaway youth identify as lesbian, gay, bisexual or transgender. This is nothing less than a silent epidemic. Yet the role of sexuality has largely been ignored in discussions about homelessness.

Too often, social service agencies pay little attention to gender expression as root causes of the cycle of instability and abuse that leads to homelessness among this population, an attitude that often underscores the discrimination and rejection the youth already experience from their families and communities. They arrive in New York seeking housing and acceptance.

Without missing a beat he barked in Jamaican patois, "If yuh were still in Jamaica I would have somebody kill yuh, yuh see bwoy!"

As I stood in the cozy Chelsea gallery in June, surrounded by the colorful pieces that would eventually be installed at True Colors, I listened to the stories of perseverance and strength from True Colors residents.

These are young people who were rejected and exploited just for being brave enough to live their truth. Mostly minorities, some survived destructive romantic relationships. Others endured drug abuse and sex work. I considered how the art could be validating and help counteract the incredibly depressing statistics they've faced. I also reflected on my own story, and how I could easily have been one of them.

One night at the end of my freshmen year at college, I was violently awakened by my father, who had been abusive towards my mom for years. I'd returned home for a family function, and you-know-what hit the fan when he stumbled upon a book I was reading for class about coming of age and coming out.

After a lifetime of inner turmoil about my sexuality, I fully embraced my queerness at school. Home, though, was a different story. I am Jamaican - my family immigrated to the States when I was seven years old, moving to a predominantly Caribbean community - and in Jamaican culture homosexuality is an unwelcome subject.

In 2006, Time Magazine explored whether Jamaica is “the most homophobic place on earth.” A 2012 U.S. State Department report on human rights on the island described homophobia as being “widespread.” Gay Jamaicans — men and women — live with the constant threat of alienation and violence.

RELATED: Activist DeRay Mckesson Gives Speech About Being Black and Gay

So when my dad found this book of mine, he said there was no way a school would 'allow you to read about a "batty boy"'. A bad argument followed, and when I returned to school I was deeply depressed. A couple of months later, I called my father and told him, "Yes, I am gay." Without missing a beat he barked in Jamaican patois, "If yuh were still in Jamaica I would have somebody kill yuh, yuh see bwoy!"

He then told me I was no longer welcome in his house. At age 19, I had no home to go to. When school wasn't in session I lived out of a suitcase. I became dependent on credit cards and relied on the kindness of my friends and their parents. I was fortunate to have a supportive community at Brown University.

Still, after college I cycled through periods of financial and housing instability, and struggled with unemployment and other discrimination as a transgender person of color. These experiences inform the lens I view my art through.

In the piece Tavet Gillson and I created for the True Colors exhibit, a subject finds his/her path to self-love under the watchful eye of a fabulous personal deity. A bright rainbow cityscape serves as a beacon of hope.

With LGBT characters as prominent fixtures in hits shows like "How to Get Away With Murder", "Orange is the New Black" and "Transparent", and same-sex marriage now legal in America, it's easy to think life is easier for all LGBT individuals. But vulnerable gay and transgender youth often run away from home because of family conflict, or they are kicked out or disowned like I was.

RELATED: Afrofuturism and the Power of Black I magination…Can You Dig It?

They then face overt discrimination when seeking alternative housing, which is compounded by institutionalized discrimination and the inability to find work due to that discrimination. As the prism of gay life changes, it is time to provide these young people the support they need.

My digital collage photograph embodies the communal spirit institutions like True Colors provide LGBT youth, young people society chooses not to see or help. We cannot forget about them. I am proud that my art could contribute to the healing taking place at True Colors. The True Colors Residence was created, developed, and is operated by West End Residences. By supporting West End, you can help the residents of True Colors Residence, True Colors Bronx, and all future True Colors supportive housing projects until homelessness among our youth is eradicated and true equality is won for all.

André St. Clair is a Transgender interdisciplinary artist, speaker and activist. Her visual art is part of the permanent exhibit at Cyndi Lauper's True Colors Residence for LGBT youth and in the permanent collection at Leslie Lohman Museum for Gay & Lesbian Art. She can be found at Twitter and andrestclair.com .

André St. Clair is a transgender interdisciplinary artist, speaker and activist. St. Clair holds an Honors B.A. in Sexuality and Society from Brown University, an MA and MFA, respectively in Performance Studies from New York University/Tisch School of the Arts and in Acting from California Institute of the Arts (CalArts). She is an award winning writer. Her visual art is part of the permanent exhibit at Cyndi Lauper's True Colors Residence for LGBT youth with a history of homelessness and in the permanent collection at Leslie Lohman Museum for Gay & Lesbian Art. A development professional, she currently works for New York City Anti-Violence Project (AVP). She can be found at  andrestclair.com . 

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Color and psychological functioning: a review of theoretical and empirical work

In the past decade there has been increased interest in research on color and psychological functioning. Important advances have been made in theoretical work and empirical work, but there are also important weaknesses in both areas that must be addressed for the literature to continue to develop apace. In this article, I provide brief theoretical and empirical reviews of research in this area, in each instance beginning with a historical background and recent advancements, and proceeding to an evaluation focused on weaknesses that provide guidelines for future research. I conclude by reiterating that the literature on color and psychological functioning is at a nascent stage of development, and by recommending patience and prudence regarding conclusions about theory, findings, and real-world application.

The past decade has seen enhanced interest in research in the area of color and psychological functioning. Progress has been made on both theoretical and empirical fronts, but there are also weaknesses on both of these fronts that must be attended to for this research area to continue to make progress. In the following, I briefly review both advances and weaknesses in the literature on color and psychological functioning.

Theoretical Work

Background and recent developments.

Color has fascinated scholars for millennia ( Sloane, 1991 ; Gage, 1993 ). Theorizing on color and psychological functioning has been present since Goethe (1810) penned his Theory of Colors , in which he linked color categories (e.g., the “plus” colors of yellow, red–yellow, yellow–red) to emotional responding (e.g., warmth, excitement). Goldstein (1942) expanded on Goethe’s intuitions, positing that certain colors (e.g., red, yellow) produce systematic physiological reactions manifest in emotional experience (e.g., negative arousal), cognitive orientation (e.g., outward focus), and overt action (e.g., forceful behavior). Subsequent theorizing derived from Goldstein’s ideas has focused on wavelength, positing that longer wavelength colors feel arousing or warm, whereas shorter wavelength colors feel relaxing or cool ( Nakashian, 1964 ; Crowley, 1993 ). Other conceptual statements about color and psychological functioning have focused on general associations that people have to colors and their corresponding influence on downstream affect, cognition, and behavior (e.g., black is associated with aggression and elicits aggressive behavior; Frank and Gilovich, 1988 ; Soldat et al., 1997 ). Finally, much writing on color and psychological functioning has been completely atheoretical, focused exclusively on finding answers to applied questions (e.g., “What wall color facilitates worker alertness and productivity?”). The aforementioned theories and conceptual statements continue to motivate research on color and psychological functioning. However, several other promising theoretical frameworks have also emerged in the past decade, and I review these frameworks in the following.

Hill and Barton (2005) noted that in many non-human animals, including primate species, dominance in aggressive encounters (i.e., superior physical condition) is signaled by the bright red of oxygenated blood visible on highly vascularized bare skin. Artificial red (e.g., on leg bands) has likewise been shown to signal dominance in non-human animals, mimicking the natural physiological process ( Cuthill et al., 1997 ). In humans in aggressive encounters, a testosterone surge produces visible reddening on the face and fear leads to pallor ( Drummond and Quay, 2001 ; Levenson, 2003 ). Hill and Barton (2005) posited that the parallel between humans and non-humans present at the physiological level may extend to artificial stimuli, such that wearing red in sport contests may convey dominance and lead to a competitive advantage.

Other theorists have also utilized a comparative approach in positing links between skin coloration and the evaluation of conspecifics. Changizi et al. (2006) and Changizi (2009) contend that trichromatic vision evolved to enable primates, including humans, to detect subtle changes in blood flow beneath the skin that carry important information about the emotional state of the conspecific. Increased red can convey anger, embarrassment, or sexual arousal, whereas increased bluish or greenish tint can convey illness or poor physiological condition. Thus, visual sensitivity to these color modulations facilitates various forms of social interaction. In similar fashion, Stephen et al. (2009) and Stephen and McKeegan (2010) propose that perceivers use information about skin coloration (perhaps particularly from the face, Tan and Stephen, 2012 ) to make inferences about the attractiveness, health, and dominance of conspecifics. Redness (from blood oxygenization) and yellowness (from carotenoids) are both seen as facilitating positive judgments. Fink et al. (2006) and Fink and Matts (2007) posit that the homogeneity of skin coloration is an important factor in evaluating the age, attractiveness, and health of faces.

Elliot and Maier (2012) have proposed color-in-context theory, which draws on social learning, as well as biology. Some responses to color stimuli are presumed to be solely due to the repeated pairing of color and particular concepts, messages, and experiences. Others, however, are presumed to represent a biologically engrained predisposition that is reinforced and shaped by social learning. Through this social learning, color associations can be extended beyond natural bodily processes (e.g., blood flow modulations) to objects in close proximity to the body (e.g., clothes, accessories). Thus, for example, red may not only increase attractiveness evaluations when viewed on the face, but also when viewed on a shirt or dress. As implied by the name of the theory, the physical and psychological context in which color is perceived is thought to influence its meaning and, accordingly, responses to it. Thus, blue on a ribbon is positive (indicating first place), but blue on a piece of meat is negative (indicating rotten), and a red shirt may enhance the attractiveness of a potential mate (red = sex/romance), but not of a person evaluating one’s competence (red = failure/danger).

Meier and Robinson (2005) and Meier (in press ) have posited a conceptual metaphor theory of color. From this perspective, people talk and think about abstract concepts in concrete terms grounded in perceptual experience (i.e., they use metaphors) to help them understand and navigate their social world ( Lakoff and Johnson, 1999 ). Thus, anger entails reddening of the face, so anger is metaphorically described as “seeing red,” and positive emotions and experiences are often depicted in terms of lightness (rather than darkness), so lightness is metaphorically linked to good (“seeing the light”) rather than bad (“in the dark”). These metaphoric associations are presumed to have implications for important outcomes such as morality judgments (e.g., white things are viewed as pure) and stereotyping (e.g., dark faces are viewed more negatively).

For many years it has been known that light directly influences physiology and increases arousal (see Cajochen, 2007 , for a review), but recently theorists have posited that such effects are wavelength dependent. Blue light, in particular, is posited to activate the melanopsin photoreceptor system which, in turn, activates the brain structures involved in sub-cortical arousal and higher-order attentional processing ( Cajochen et al., 2005 ; Lockley et al., 2006 ). As such, exposure to blue light is expected to facilitate alertness and enhance performance on tasks requiring sustained attention.

Evaluation and Recommendations

Drawing on recent theorizing in evolutionary psychology, emotion science, retinal physiology, person perception, and social cognition, the aforementioned conceptualizations represent important advances to the literature on color and psychological functioning. Nevertheless, theory in this area remains at a nascent level of development, and the following weaknesses may be identified.

First, the focus of theoretical work in this area is either extremely specific or extremely general. A precise conceptual proposition such as red signals dominance and leads to competitive advantage in sports ( Hill and Barton, 2005 ) is valuable in that it can be directly translated into a clear, testable hypothesis; however, it is not clear how this specific hypothesis connects to a broader understanding of color–performance relations in achievement settings more generally. On the other end of the spectrum, a general conceptualization such as color-in-context theory ( Elliot and Maier, 2012 ) is valuable in that it offers several widely applicable premises; however, these premises are only vaguely suggestive of precise hypotheses in specific contexts. What is needed are mid-level theoretical frameworks that comprehensively, yet precisely explain and predict links between color and psychological functioning in specific contexts (for emerging developments, see Pazda and Greitemeyer, in press ; Spence, in press ; Stephen and Perrett, in press ).

Second, the extant theoretical work is limited in scope in terms of range of hues, range of color properties, and direction of influence. Most theorizing has focused on one hue, red, which is understandable given its prominence in nature, on the body, and in society ( Changizi, 2009 ; Elliot and Maier, 2014 ); however, other hues also carry important associations that undoubtedly have downstream effects (e.g., blue: Labrecque and Milne, 2012 ; green: Akers et al., 2012 ). Color has three basic properties: hue, lightness, and chroma ( Fairchild, 2013 ). Variation in any or all of these properties could influence downstream affect, cognition, or behavior, yet only hue is considered in most theorizing (most likely because experientially, it is the most salient color property). Lightness and chroma also undoubtedly have implications for psychological functioning (e.g., lightness: Kareklas et al., 2014 ; chroma: Lee et al., 2013 ); lightness has received some attention within conceptual metaphor theory ( Meier, in press ; see also Prado-León and Rosales-Cinco, 2011 ), but chroma has been almost entirely overlooked, as has the issue of combinations of hue, lightness, and chroma. Finally, most theorizing has focused on color as an independent variable rather than a dependent variable; however, it is also likely that many situational and intrapersonal factors influence color perception (e.g., situational: Bubl et al., 2009 ; intrapersonal: Fetterman et al., 2015 ).

Third, theorizing to date has focused primarily on main effects, with only a modicum of attention allocated to the important issue of moderation. As research literatures develop and mature, they progress from a sole focus on “is” questions (“Does X influence Y?”) to additionally considering “when” questions (“Under what conditions does X influence Y and under what conditions does X not influence Y?”). These “second generation” questions ( Zanna and Fazio, 1982 , p. 283) can seem less exciting and even deflating in that they posit boundary conditions that constrain the generalizability of an effect. Nevertheless, this step is invaluable in that it adds conceptual precision and clarity, and begins to address the issue of real-world applicability. All color effects undoubtedly depend on certain conditions – culture, gender, age, type of task, variant of color, etc. – and acquiring an understanding of these conditions will represent an important marker of maturity for this literature (for movement in this direction, see Schwarz and Singer, 2013 ; Tracy and Beall, 2014 ; Bertrams et al., 2015 ; Buechner et al., in press ; Young, in press ). Another, more succinct, way to state this third weakness is that theorizing in this area needs to take context, in all its forms, more seriously.

Empirical Work

Empirical work on color and psychological functioning dates back to the late 19th century ( Féré, 1887 ; see Pressey, 1921 , for a review). A consistent feature of this work, from its inception to the past decade, is that it has been fraught with major methodological problems that have precluded rigorous testing and clear interpretation ( O’Connor, 2011 ). One problem has been a failure to attend to rudimentary scientific procedures such as experimenter blindness to condition, identifying, and excluding color deficient participants, and standardizing the duration of color presentation or exposure. Another problem has been a failure to specify and control for color at the spectral level in manipulations. Without such specification, it is impossible to know what precise combination of color properties was investigated, and without such control, the confounding of focal and non-focal color properties is inevitable ( Whitfield and Wiltshire, 1990 ; Valdez and Mehrabian, 1994 ). Yet another problem has been the use of underpowered samples. This problem, shared across scientific disciplines ( Maxwell, 2004 ), can lead to Type I errors, Type II errors, and inflated effect sizes ( Fraley and Vazire, 2014 ; Murayama et al., 2014 ). Together, these methodological problems have greatly hampered progress in this area.

Although some of the aforementioned problems remain (see “Evaluation and Recommendations” below), others have been rectified in recent work. This, coupled with advances in theory development, has led to a surge in empirical activity. In the following, I review the diverse areas in which color work has been conducted in the past decade, and the findings that have emerged. Space considerations require me to constrain this review to a brief mention of central findings within each area. I focus on findings with humans (for reviews of research with non-human animals, see Higham and Winters, in press ; Setchell, in press ) that have been obtained in multiple (at least five) independent labs. Table ​ Table1 1 provides a summary, as well as representative examples and specific references.

Research on color and psychological functioning.

In research on color and selective attention, red stimuli have been shown to receive an attentional advantage (see Folk, in press , for a review). Research on color and alertness has shown that blue light increases subjective alertness and performance on attention-based tasks (see Chellappa et al., 2011 , for a review). Studies on color and athletic performance have linked wearing red to better performance and perceived performance in sport competitions and tasks (see Maier et al., in press , for a review). In research on color and intellectual performance, viewing red prior to a challenging cognitive task has been shown to undermine performance (see Shi et al., 2015 , for a review). Research focused on color and aggressiveness/dominance evaluation has shown that viewing red on self or other increases appraisals of aggressiveness and dominance (see Krenn, 2014 , for a review). Empirical work on color and avoidance motivation has linked viewing red in achievement contexts to increased caution and avoidance (see Elliot and Maier, 2014 , for a review). In research on color and attraction, viewing red on or near a female has been shown to enhance attraction in heterosexual males (see Pazda and Greitemeyer, in press , for a review). Research on color and store/company evaluation has shown that blue on stores/logos increases quality and trustworthiness appraisals (see Labrecque and Milne, 2012 , for a review). Finally, empirical work on color and eating/drinking has shown that red influences food and beverage perception and consumption (see Spence, in press , for a review).

The aforementioned findings represent important contributions to the literature on color and psychological functioning, and highlight the multidisciplinary nature of research in this area. Nevertheless, much like the extant theoretical work, the extant empirical work remains at a nascent level of development, due, in part, to the following weaknesses.

First, although in some research in this area color properties are controlled for at the spectral level, in most research it (still) is not. Color control is typically done improperly at the device (rather than the spectral) level, is impossible to implement (e.g., in web-based platform studies), or is ignored altogether. Color control is admittedly difficult, as it requires technical equipment for color assessment and presentation, as well as the expertise to use it. Nevertheless, careful color control is essential if systematic scientific work is to be conducted in this area. Findings from uncontrolled research can be informative in initial explorations of color hypotheses, but such work is inherently fraught with interpretational ambiguity ( Whitfield and Wiltshire, 1990 ; Elliot and Maier, 2014 ) that must be subsequently addressed.

Second, color perception is not only a function of lightness, chroma, and hue, but also of factors such as viewing distance and angle, amount and type of ambient light, and presence of other colors in the immediate background and general environmental surround ( Hunt and Pointer, 2011 ; Brainard and Radonjić, 2014 ; Fairchild, 2015 ). In basic color science research (e.g., on color physics, color physiology, color appearance modeling, etcetera; see Gegenfurtner and Ennis, in press ; Johnson, in press ; Stockman and Brainard, in press ), these factors are carefully specified and controlled for in order to establish standardized participant viewing conditions. These factors have been largely ignored and allowed to vary in research on color and psychological functioning, with unknown consequences. An important next step for research in this area is to move to incorporate these more rigorous standardization procedures widely utilized by basic color scientists. With regard to both this and the aforementioned weakness, it should be acknowledged that exact and complete control is not actually possible in color research, given the multitude of factors that influence color perception ( Committee on Colorimetry of the Optical Society of America, 1953 ) and our current level of knowledge about and ability to control them ( Fairchild, 2015 ). As such, the standard that must be embraced and used as a guideline in this work is to control color properties and viewing conditions to the extent possible given current technology, and to keep up with advances in the field that will increasingly afford more precise and efficient color management.

Third, although in some research in this area, large, fully powered samples are used, much of the research remains underpowered. This is a problem in general, but it is particularly a problem when the initial demonstration of an effect is underpowered (e.g., Elliot and Niesta, 2008 ), because initial work is often used as a guide for determining sample size in subsequent work (both heuristically and via power analysis). Underpowered samples commonly produce overestimated effect size estimates ( Ioannidis, 2008 ), and basing subsequent sample sizes on such estimates simply perpetuates the problem. Small sample sizes can also lead researchers to prematurely conclude that a hypothesis is disconfirmed, overlooking a potentially important advance ( Murayama et al., 2014 ). Findings from small sampled studies should be considered preliminary; running large sampled studies with carefully controlled color stimuli is essential if a robust scientific literature is to be developed. Furthermore, as the “evidentiary value movement” ( Finkel et al., 2015 ) makes inroads in the empirical sciences, color scientists would do well to be at the leading edge of implementing such rigorous practices as publically archiving research materials and data, designating exploratory from confirmatory analyses, supplementing or even replacing significant testing with “new statistics” ( Cumming, 2014 ), and even preregistering research protocols and analyses (see Finkel et al., 2015 , for an overview).

In both reviewing advances in and identifying weaknesses of the literature on color and psychological functioning, it is important to bear in mind that the existing theoretical and empirical work is at an early stage of development. It is premature to offer any bold theoretical statements, definitive empirical pronouncements, or impassioned calls for application; rather, it is best to be patient and to humbly acknowledge that color psychology is a uniquely complex area of inquiry ( Kuehni, 2012 ; Fairchild, 2013 ) that is only beginning to come into its own. Findings from color research can be provocative and media friendly, and the public (and the field as well) can be tempted to reach conclusions before the science is fully in place. There is considerable promise in research on color and psychological functioning, but considerably more theoretical and empirical work needs to be done before the full extent of this promise can be discerned and, hopefully, fulfilled.

Conflict of Interest Statement

The author declares that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

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True Colors Personality Test

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True Colors Personality Test helps us to recognize our potential and comprehend the characteristics of our individualities, our hidden abilities and talents, our emotional tendencies and natural predispositions (Supli, Norshuhada and Azizi16). I am a gold color individual. I have most of the personality traits characterizing gold color individuals such as stability, punctuality, and anxiety. However, not all attributes in the group describe my personality. This paper seeks to analyze the results of the True Colors Personality Test on an individual’s life.

The gold personality color influences both my home and my work life. Due to my focus on tasks and structure, I perform well in my workplace through punctuality and completion of duties. Additionally, my ability to handle details makes the organization depend on my skills. On the other hand, the gold color personality helps me build long term relationships with friends and family. Also, my conservative views on the subjects of love and marriage strengthen my relationships due to my seriousness on the issues. However, the serious nature becomes a challenge in making new friends(Supli, Norshuhada and Azizi17).

The personality traits included in the True Colors Personality Test are many and varying in degree. It is therefore impossible to score evenly on all four colors. No one has ever come close to scoring equally on the four colors (Carroll 1). Since every individual has a combination of all the four colors, it makes it difficult to score evenly on the colors. One cannot be defiant and still follow the rules at the same time. However, it is normal for an individual to have close scores in two colors but not four.

In summary, the True Colors Personality Test helps people in understanding themselves and others based on personalities. According to the test,  the gold color best describes my character. The color influences both my social and work life. However, an individual cannot score evenly on the four colors.

Works Cited

Carroll, Gail. “What Color Are You?.”  the bulletin  (2015). https://www.nlta.nl.ca/living-well-articles-from-the-employee-assistance-program/

Supli, Ahmad Affandi, NorshuhadaShiratuddin, and AziziAb Aziz. “Tag cloud algorithm with the inclusion of personality traits.”  International Journal of Computer Applications  (2014). https://pdfs.semanticscholar.org/9458/a96e9172f82b2f9cd01f906088eddc2c212c.pdf

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Ielts writing task 2 sample 1086 - how far colour influence people's health and capacity for work, ielts writing task 2/ ielts essay:, psychologists have known for many years that colour can affect how people feel. for this reason, attention should be given to colour schemes when decorating places such as offices and hospitals., how true this statement how far colours influence people's health and capacity for work.

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true colors essay

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Creative Truth Telling 101: How to Write a Narrative Essay

Most people get their first introduction to the art of narrative essays through cookie-cutter school assignments or high-pressure college applications. But here’s a fun fact a lot of folks don’t know:

Writing a narrative essay can be fun .

When you’re not under pressure to impress someone who holds your academic fate in their hands, an essay can be a thrilling tool for self-expression and even self-discovery. 

But first, you gotta understand the art form. You and I are going to make that happen right now. We’re about to cover all your most pressing narrative essay questions, from what it is to how to write one. You’ll also get some suggestions for narrative essay examples worth checking out.

Let’s start with a definition:

What is a Narrative Essay?

A narrative essay tells a true story from a first-person point of view . 

It’s often a personal story drawn from the author’s own life, but it doesn’t have to be. You could write a narrative essay about an event you observed or learned about through research and interviews.

What matters is that you’re telling a story rather than reporting on facts. There’s a narrative arc incorporating character development , conflict , themes , and a vivid, relevant setting . You’re basically involving all the elements of fiction, except for the part where everything is made up.

Narrative essays fall under the heading of creative nonfiction . That means the stories are true, but instead of merely conveying information, the goal is to engage readers emotionally, express a personal perspective, or explore a topic in greater depth.

A narrative essay is usually somewhere between 1,000 and 5,000 words long, but it could be as much as 15,000-20,000 words.

Narrative Essay Examples

You’ve likely written a narrative essay before. If you ever had to write about a time when you overcame hardship for a college application or a teacher asked you to write about your summer vacation, you’ve already dipped your toe into this particular art form.

But you can easily find narrative essays beyond the walls of academia, too. 

The New York Times’ famous “Modern Love” column consists of real-life stories about human relationships. 

Authors like Samantha Irby , Jenny Lawson , and David Sedaris write essay collections filled with hilarious narratives from their own lives, some of which touch on profound themes.

Roxane Gay uses the art of the narrative essay to explore social issues in the more intimate context of her personal experience. And Joan Didion was famous for making every essay feel personal, even when she was telling someone else’s story.

As you study these and other experienced writers in the genre, you’ll find that there are endless ways to tackle a true story. 

The Role of Storytelling in a Narrative Essay

Okay, so obviously, storytelling is the defining feature of a narrative essay. But why? Why not just present the facts?

It all comes down to giving readers the feels . Most narrative essays aim to communicate not just factual truth but emotional truth. 

An author might write a narrative essay about antiquing with their mother. Their goal isn’t to inform people about what their mom bought and why. It’s to express something more abstract about parent/child relationships or the passage of time or whatever.

They’re using concrete events to illustrate a much deeper theme. And storytelling is a more effective tool than fact-spewing because it engages the reader emotionally, helping them connect with that profound emotional truth.

Pre-Writing Phase: Planning Your Narrative

In a moment, we’re going to talk about how to write a narrative essay. 

But first, you’re going to want to do a little prep work. How much you do is entirely up to you. Some writers are plotters who like to have everything figured out before they write their essay. Some are pantsers who find their story as they go.

While I land closer to the plotter end of the spectrum as a fiction writer, I veer more towards pantsing when it comes to narrative essays. Probably because I don’t have to dream up all the raw material. It’s already there, rolling around in my memory, and I won’t know what I want to say about it until I start writing.

You do you. But I recommend giving your narrative essay at least a little thought before you dive in.   

Choosing a Topic

First, figure out what you want to write about. You can start with a specific personal experience, like that time you picked up a hitchhiker.

If no interesting life events spring to mind, you can start with a theme instead.

Maybe you want to write about your personal definition of love. Or the homelessness crisis in your city. Start there and brainstorm real-life stories that connect to your main idea.

If you have no idea what you want to write about, here are some open-ended prompts to get the wheels turning:

Narrative Essay Writing Prompts

• What’s your earliest childhood memory?
• What’s your core belief regarding love, forgiveness, family, or justice? How did you come to hold that belief?
• What seemingly insignificant moment had a massive impact on your life?
• What needs to change in society? If you could tell the world one story to help them understand why that change is necessary, what would it be?
• How do you define joy? What moment in your life illustrates that best?
• How do you define loss? What moment in your life illustrates that best?
• Is there a painful moment in your life that you’ll be eternally grateful for?
• What about a joyful moment you’ve come to regret?

Brainstorming Your Content

Once you’ve chosen a topic, you’re ready to start thinking about your story in more detail.

Jot down the basic arc of your story. What happened? Who was involved? What did you learn?

Pinpoint the most relevant details. The challenge of writing about our own lives is that we know everything—what we ate for breakfast, how much the bus ticket cost, the elderly neighbor’s maiden name. 

Review your notes, looking for details that have the potential to clarify your theme and those that are more likely to drag down your story with unnecessary information.

It might also be a good idea to zoom out and see if there are any other personal experiences worth tying into your essay. Maybe the narrative essay about antiquing with your mother would benefit from a one-paragraph flashback to the time when you went with her to visit her own mother in assisted living. 

Mindmaps and freewriting are both great tools for this type of brainstorming. You can learn more about how to do them here .

Creating an Outline

If you’re a planner, you’ll probably want to outline your narrative essay before you start writing. So let’s talk structure real quick.

In school, you probably learned that a good essay starts with an introduction containing a thesis statement followed by multiple supporting paragraphs. But now you’re writing a narrative essay, which means your readers are expecting a story. 

Skip the thesis statement. You still have a main point to make, but that point is called a theme and you’re making it by weaving it into a traditional story structure .

In fact, think of this more like a short story that’s true. A protagonist (probably you) has a goal but faces obstacles in pursuit of that goal. This conflict forces them to either make a bold decision or undergo some internal transformation, possibly both. 

Lay out your narrative so it’s not just a series of events, it’s an actual story arc. Sprinkle in flashbacks and alternating timelines as needed, and make sure to track the way your themes and emotional truth unfold over the course of the story. 

Pro tip: The Dabble Plot Grid is a huge help for stuff like this.

Drafting Your Essay

Time for the fun stuff. Let’s dig in and actually write a narrative essay.

We’ll go over the key elements of a good narrative essay, but first I want to talk prose .

As I mentioned earlier, this is narrative writing, which means you’re going to treat it as if you were writing fiction.

This means you’re going to use the same language tricks you’d use when writing a novel. Figurative language, vivid sensory details, literary devices like foreshadowing and irony … all that fun stuff.

I also recommend checking out these submission tips straight from the editors of “Modern Love.” It’s created for writers who plan to submit their work to “Modern Love” (and much of the advice is several years old), but it also offers outstanding tips for creating a compelling narrative essay in any context. 

Okay, let’s get to writing.

Crafting the Hook

Kick off your narrative essay with an interesting hook —something that immediately draws the reader in and makes them want to stick around to see where this is going.

Great hooks come in many forms, including:

• An interesting setting
• A shocking opening line
• A controversial claim
• A compelling question
• An impossible dilemma
• A fascinating character 

Pinpoint the thing that’s most likely to snag your reader’s attention and get to it right away. Like, in the first sentence. Check out this article for tips on writing a stellar opening line.

Setting the Stage

The setting of a narrative essay is as essential as the setting of a novel. Use vivid details to draw readers into your world. 

Stick with concrete descriptive language instead of speaking in the abstract. Don’t say it was a beautiful day; show the reader dappled sunlight shivering through the gaps in the leaves. This makes it easier for your audience to disappear inside your story and connect with it emotionally.

You can use these worksheets to practice the “show, don’t tell” approach to descriptive writing.

Also remember that a setting is more than physical space. Is there anything your readers should understand about the culture or political climate your story takes place in?

Developing Characters

You may not think of character development as an essential skill for writing a narrative essay. After all, you’re dealing with the truth. The people in your story are who they are.

Nevertheless, you’ve got to think like a storyteller. That means considering how each person contributes to the narrative. How do these individuals move the story forward? How are they changed because of the experience? 

Because most narrative essays are personal stories, the author is typically the main character. That means you’ve got to give yourself the protagonist treatment , going deep on your own goals, motivations , fears , strengths, and weaknesses within the story.

Who are you at the beginning of the story? Who have you become by the end? A great narrative essay reveals a journey of growth—a character arc —no matter how big or small.

Introducing the Conflict

Speaking of personal growth, you need a clear conflict to set your journey in motion.

Now, as an essayist, you don’t face the same pressures a novelist faces—at least not when it comes to crafting nail-biter conflicts. While some narrative essays explore shocking, life-altering conflicts, others reflect on the deeper symbolism of small moments like burning a cake or enduring a humiliating job interview.

So don’t worry about going big if you’re not writing about a major life event. Just focus on creating tension, helping the reader empathize with the protagonist’s (your) emotions, and revealing the theme that explains why this seemingly minor conflict is worth writing about.

Advancing the Plot

In all good stories, things get worse before they get better.

But what if, in the true story you’re telling, they didn’t? What if there was just one conflict and then it ended?

Not a problem. The external conflict—the tough diagnosis or the fight you had with your cousin—is only half of the central conflict, anyway. The other half is the internal conflict —whatever battle you were fighting with yourself in that moment.

And when it comes to narrative essays, internal conflict is huge . 

This includes stuff like:

• Moral dilemmas
• Identity crises
• Spiritual crises
• Conflicting feelings about other people
• Plummeting self-confidence

The beauty of writing a narrative essay is that you get to zoom into small moments. You can tell a 100-year story in an essay if you want to. But you can also write about the 30 minutes you spent trying to get an oil stain off your driveway if each failed attempt triggers the perfectionist tendencies you’re trying to overcome.

You can also heighten the conflict of your narrative essay by demonstrating that the issue is bigger than this one moment in your life. Maybe it reflects a larger societal problem, in which case, reflect on that! Let it add dimension to your personal journey. You might even incorporate statistics or a news story if it fits your writing style .

Resolving the Narrative

A satisfying ending is no less important in a narrative essay than it is in a work of fiction. The challenge, of course, is that we can only work with what actually happened.

This is why it’s so important to build the internal conflict. Your satisfying conclusion is going to come from your personal growth. How did the experience change you? What did you discover about yourself?

Who have you become by the time you’re sitting alone in the middle of your driveway with your steel wool and bucket, willing yourself to make peace with the stain?

Read a ton of narrative essays and pay attention to the endings that shake your soul. Great authors know how to spin a powerful conclusion out of a moment that looks mundane on the outside.

Polishing Your Narrative Essay

So you’ve written the first draft of your essay. Now what?

It’s time to make this baby shine. That means several rounds of self-editing, sharing your work for feedback, more editing, and finally a little proofreading.

If that sounds like a lot of work, it is. But these steps are key if you hope to publish your masterpiece in a magazine or essay collection. 

So let’s get to it.

Self-Editing

In this phase, you are your only editor. For the most part, anyway. You might have an alpha reader or a critique partner to help you workshop problem areas in your first draft. 

But generally speaking, it’s best to do as much revising as you can before you start seeking feedback from others. That way, your readers don’t waste any time (and you don’t waste any favors) pointing out issues you could’ve found and fixed on your own.

I recommend doing a few rounds of self-edits, focusing first on big-picture things like structure and flow, gradually moving your focus down to smaller details like syntax, word choice, and grammar.

You can find more self-editing tips here .

Seeking Feedback

Once you’ve made all the improvements you can make on your own, you’re ready for outside input. 

Reach out to fellow essayists and essay readers. Ask if they’d be willing to read your manuscript and provide honest feedback, and give them a clear (and generous) time frame for when you hope to receive their notes.

It’s always a little uncomfortable to invite critiques of your work, but this process is key for making your narrative essay the best it can be. You don’t have to incorporate all the feedback you get, but make sure you express gratitude whether you agree with their notes or not.

You can learn more about the feedback process here .

Final Polish

After you’ve completed several revisions and taken advantage of all that insightful feedback, you’ll hopefully have a compelling narrative essay you feel great about. 

The only thing left to do is scour it for remaining typos, grammatical errors, punctuation problems, formatting issues, or any other tedious issue that could potentially distract from its brilliance.

Once you’ve polished your narrative essay, you’re ready for the next step, whether that means submitting your masterpiece to literary magazines, pitching it to glossies , publishing it in an essay collection…

…or even just sitting yourself back down at the keyboard to get started on the next one.

Master the Art of Narrative

Now that you’ve nailed the basics of how to write a narrative essay, you’re ready for a deeper dive into the art of narrative writing. And you can learn how to tell a compelling story right here in DabbleU .

Browse DabbleU for hundreds of free articles and resources on character development, conflict, setting, prose, and more. Find inspiration and learn what it takes to build a writing routine and become a published author .

You can also have great tips delivered right to your inbox every week when you sign up for our free newsletter. There’s no spam—just loads of guidance to help you tell a good story. Click here to subscribe.

Abi Wurdeman is the author of Cross-Section of a Human Heart: A Memoir of Early Adulthood, as well as the novella, Holiday Gifts for Insufferable People. She also writes for film and television with her brother and writing partner, Phil Wurdeman. On occasion, Abi pretends to be a poet. One of her poems is (legally) stamped into a sidewalk in Santa Clarita, California. When she’s not writing, Abi is most likely hiking, reading, or texting her mother pictures of her houseplants to ask why they look like that.

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LGBTQ+ Pride Month is starting to show its colors around the world. What to know

Pride Month is kicking off around the world with parades and festivals in cities large and small

Pride Month, the worldwide celebration of LGBTQ+ culture and rights, kicks off Saturday with events around the globe.

But this year’s festivities in the U.S. will unfold against a backdrop of dozens of new state laws targeting LGBTQ+ rights, particularly transgender young people.

Here are things to know about the celebrations and the politics around them.

WHY IS JUNE PRIDE MONTH?

The monthlong global celebration began with Gay Pride Week in late June 1970, a public celebration that marked the first anniversary of the violent police raid at New York’s Stonewall Inn , a gay bar.

At a time when LGBTQ+ people largely kept their identity or orientation quiet, the June 28, 1969, raid sparked a series of protests and catalyzed the movement for rights .

The first pride week featured marches in Chicago, Los Angeles, New York and San Francisco, and it has grown ever since. Some events fall outside of June: Tokyo’s Rainbow Pride was in April and Rio de Janeiro has a major event in November.

In 1999, President Bill Clinton proclaimed June as Gay and Lesbian Pride Month.

WHAT'S BEING CELEBRATED?

Pride’s hallmark rainbow-laden parades and festivals celebrate the progress the LGBTQ+ civil rights movement has made.

In the U.S. in April, a federal appeals court ruled North Carolina and West Virginia’s refusal to cover certain health care for transgender people with government-sponsored insurance is discriminatory.

In one compromise in March, a settlement of legal challenges to a Florida law critics called “Don’t Say Gay” clarifies that teachers can have pictures on their desks of their same-sex partners and books with LGBTQ+ themes. It also says books with LGBTQ+ characters and themes can remain in campus libraries and gay-straight alliance chapters at schools need not be forced underground.

Greece this year legalized same-sex marriage , one of three dozen nations around the world to do so, and a similar law approved in Estonia in June 2023 took effect this year.

WHAT'S BEING PROTESTED?

Rights have been lost around the world, including heavy prison sentences for gay and transgender people in Iraq and the death penalty for “aggravated homosexuality” in Uganda . More than 60 countries have anti-LGBTQ+ laws, advocates say.

Tightening of those laws has contributed to the flow of people from Africa and the Middle East seeking asylum in Europe.

In recent years, Republican-controlled U.S. states have been adopting policies that target LGBTQ+ people, and particularly transgender people, in various ways.

Twenty-five states now have laws banning gender-affirming care for transgender minors. Some states have taken other actions, with laws or policies primarily keeping transgender girls and women out of bathrooms and sports competitions that align with their gender.

GOP state attorneys general have challenged a federal regulation , set to take effect in August, that would ban the bathroom bans at schools. There also have been efforts to ban or regulate drag performances .

Most of the policies are facing legal challenges.

Since Roe v. Wade was overturned in 2022 , leading to restrictive abortion laws in most GOP-controlled states, LGBTQ+ advocates are worried about losing ground too, said Kevin Jennings, CEO of nonprofit civil rights organization Lambda Legal. On the eve of Pride, the organization announced a $180 million fundraising goal for more lawyers to challenge anti-LGBTQ+ laws.

Progress such as the 2015 Supreme Court ruling that legalized same-sex marriage nationwide could be lost without political and legal vigilance, Jennings said.

“Our community looks at what happened to reproductive rights thanks to the Dobbs decision two years ago and has enormous anxiety over whether we’re about to have a massive rollback of what we’ve gained in the 55 years since Stonewall,” Jennings said.

WHAT ABOUT BUSINESSES?

While big businesses from Apple to Wells Fargo sponsor events across the U.S., a pushback made ripples last year at one major discount retailer.

Target was selling Pride-themed items last June but removed some from stores and moved displays to the back of some locations after customers tipped them over and confronted workers. The company then faced additional backlash from customers who were upset the retailer gave in to people prejudiced against LGBTQ+ people.

This year, the store has said it would not carry the items at all its stores. But the company remains a major sponsor of NYC Pride.

ARE EVENTS SAFE?

Keeping the events safe is the top priority, organizers said, but there could be challenges.

The FBI and U.S. Department of Homeland Security issued an advisory in May that foreign terrorist organizations could target events associated with Pride. The same month, the State Department renewed a security warning for Americans overseas , especially LGBTQ+ people and events globally.

Law enforcement officials noted ISIS sympathizers were arrested last year for attempting to attack a June 2023 Pride parade in Vienna and that ISIS messaging last year called for followers to attack “soft targets.”

The agencies say people should always watch out for threats made online, in person or by mail. People should take note if someone tries to enter a restricted area, bypass security or impersonate law enforcement and call 911 for emergencies and report threats to the FBI.

NYC Pride has a heavy security presence and works with city agencies outside the perimeter, said Sandra Perez, the event’s executive director. The group expects 50,000 people marching in its June 30 parade and more than 1.5 million people watching.

“The fight for liberation isn’t over,” Perez said. “The need to be visible and the need to be mindful of what we need to do to ensure that the future generations don’t have these struggles is really top of mind.”

Is 'color analysis' real? I put the viral TikTok phenomenon to the test − and was shocked.

LOS ANGELES − "Do you see the difference?"

I'm sitting in a chair looking at myself in a mirror. Over my gray apron, Brenda Cooper − a stylist , author and professional color analyst − drapes two different cloths of orange under my chin. One looks bright and strong; the other soft, muted. One, she says, harmonizes with my face. The other, not so much. In other words, one is my orange.

At this point in our color analysis, I'm squinting to see a difference. Cooper, however, warned me at the start of our session that would likely be the case. She says she couldn't see a big difference when she first had her colors done many years ago. Now, she says, it stands out to her clear as day − and people subconsciously gravitate more toward her when she's wearing her colors .

Color analysis, or the process by which you find your most complementary palette, is nothing new, emerging as a practice among stylists around the 1970s and '80s − but it's having a moment on TikTok right now, thanks to Gen Z, who are just discovering it.

Young people on TikTok go about color analysis in different ways. Some use filters and computer simulators. Others pay hundreds for appointments with professionals. Some even go so far as to travel to South Korea , where they insist the best color analysis happens.

Some of the color analysis videos are striking, showing people's complexions brighten and skin tones even just by changing the color held under their chins. Some of them rack up millions of views − but also plenty of skepticism from commenters, questioning if editing or filters are at play. Others have conflicting feedback in the comments over which shade is actually best.

Cooper says wearing the right colors makes all the difference.

"It's something that is very much overlooked, because people look at color, and they purchase or wear the colors they like to look at," she says. "Wearing a color is a completely different thing. I often say that people fall in love with colors that aren't in love with them."

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How does color analysis work?

Color analysis involves finding the palette of color that makes your face look the best, based on your undertones, veins and other subtle features. If your skin is "warm," you're either an autumn or a spring; if it's "cool," you're either a summer or a winter. These seasons break down into further subtypes, such as dark autumn, bright winter and soft summer.

Mariana Marques, founder of The Outfit Curator , which offers in-person color analysis for just under $300, says awareness of color analysis has exploded in recent years.

"Two years ago, most people didn't even know that that's a thing that existed and that you could really do it," she says, adding most of her color analysis clients are young female professionals.

Cooper says color analysis is indeed legitimate, but the effects turn up most profoundly in-person rather than online. Color has played a profound role in her work, she says. Cooper won an Emmy for costume designing the hit sitcom "The Nanny," and she offers thorough, in-person color analysis in Los Angeles for over $800. Her clientele, she says, includes celebrities, surgeons and public speakers. (Fran Drescher, by the way, is a dark autumn, as is her other A-list client William Shatner, she says.)

Cooper, however, takes issue with the ways many young people go about color analysis online. She says a reliable color analysis requires a careful process of elimination, conducted in-person and under natural light.

Not everyone, she says, is initially happy when she tells them their best colors; however, she says it's her job to deliver accurate information, and they can do with that knowledge what they wish.

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Why does color matter?

The effect of color on how one is perceived is often overlooked but can be profound, color analysts say. Some colors drain you; some dominate you. Some colors harmonize with your natural beauty.

"Everybody's skin tone can't handle a certain color," says Rayne Parvis , a style coach who has been doing color analysis for 14 years and charges nearly $1,000 for an in-person session. "I like to think of it as, if your soul wanted you to wear a certain outfit, this is how it would look."

It's also not as simple as red looks good, but green doesn't. Everyone looks good in every color, but not in every tone of color. Think the difference between the yellow of a banana and the yellow of mustard. Or between black and charcoal.

"A lot of people think it's going to be limiting, but I think it's the opposite," Marques says. "It's not that you're not going to have any shades of green in your palette. You just need to know the best green for you."

My color analysis experience

Color analysis can have a profound emotional impact on people.

"Color is an electromagnetic energy, so we not only see it, but we feel it," Cooper says. "When it's done accurately, and a person sees themselves, even if they're not classically beautiful, but sees themselves in their most attractive form, it can touch someone very emotionally. I've had many people with tears that just roll down their cheeks because they're moved by it."

At a different point in our session, Cooper asks if I see a difference between two shades of white under my face. I'm shocked that I do. One white − a stark white, the white of snow − washes me out. I see stubble more profoundly on my chin. Some red marks on my left cheekbone become visible. Even my lips look ever so slightly blue − "dead," as Cooper says.

The white that's a slight creme, however, is a different story. Dark circles under my eyes are less noticeable. My skin looks more even. Acne and red marks seem to fade. Is this real? Or is my mind, desperate to see something, playing tricks on me?

Cooper tells me I'm a true autumn, meaning my skin harmonizes with warm, fall colors. Brown loves me as does navy, she says. Black not so much, but charcoal is a different story. Guess I have to buy a new suit.

I'm curious to see how wearing these colors may or may not affect my life. Will I become more attractive? More magnetic? Or will just feeling like I am these things make the real difference?

"It's not a superficial act at all. It's your most public form of self-expression," Cooper says of color. "The work that I do on the outside with people has a profound effect on their inner life in elevating their confidence and their self-acceptance so that they can go out into the world and take risks and do things that they wouldn't normally do."

At the end of the day, maybe that confidence is what matters most. And if a bright, autumn orange helps me achieve that, then let's put it on.