tag:blogger.com,1999:blog-463997575493491552024-03-19T02:20:47.254-07:00Life In ColorColour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.comBlogger160125tag:blogger.com,1999:blog-46399757549349155.post-60455411101236232032016-12-13T07:18:00.000-08:002016-12-13T07:18:18.823-08:00Color Champion: Frank Stella<div class="p1">
<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">One of the most important artists of the last century, the formidable Frank Stella is currently the subject of a major retrospective at San Francisco’s de Young Museum. A rule breaker whose style has consistently evolved over the the decades, Stella is known for his revolutionary approach to materials as well as his continued exploration of color, form, dimension, and architecture. </span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Portrait of Frank Stella by Hollis Frampton, 1958</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We’ve selected a few of the artist's pieces to illustrate what curators have called his "groundbreaking" and “aggressive" use of color, and how it has evolved over his sixty-year career.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Frank Stella, East Broadway, 1958</td></tr>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Stella began as a house and boat painter to pay the rent, and used the same commercial brushes and enamel paints in some of his early work. He painted East Broadway soon after moving to New York City in 1958. The abstracted black and yellow stripes suggest New York taxis, a color scheme that is part of the city’s urban fabric. From early on in his career, Stella stretched his paint to the very edges of the canvas, thus highlighting the lack of frame or margin. </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Frank Stella, Die Fahne Hoch!, 1959</td></tr>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Stella's Black Paintings series are devoid of illusion or representation. "The idea was to make paintings that were available to eyesight alone. Direct," the artist said in an interview with The Whitney Museum. "So it was a kind of like a visual imprint. When you saw something, you reacted to it. Like giving feelings to your eyesight." </span></span><span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Deliberately non-representational, the Black Paintings had no "hidden" meaning. The artist famously said of them "What you see is what you see." </span></span><br />
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">The black series was</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> not universally well-received; many critics hated them. The artist noted, "There's a lot of difference between being well-known and being notorious. The black paintings didn't make me well-known - they made me notorious." </span><br />
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<tr><td class="tr-caption" style="text-align: center;">Frank Stella, Cran Cairo, 1962</td></tr>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">An early example of Stella’s color field paintings, Gran Cairo explores color in geometric form, a theme he evolved over time. </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Frank Stella, Marrakech, 1964</td></tr>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">In Marrakech, Stella makes use of vibrant color to explore the optical impact of two hues placed close together. The bands of yellow and orange seem to bend or contract when seen directly next to each other. </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Frank Stella, Harran II, 1967<br />
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<tr><td class="tr-caption" style="text-align: center;">Frank Stella, Close up of Harran 11, 1967</td></tr>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Eventually, Stella began to work with more rounded shapes, as in The Protractor Series. </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Named after an ancient Mesopotamian city in what is now Turkey, Harran II is an early reference by Stella to architectural forms, Michael Auping explains. The first artist to use day glow and florescent paints, Stella worked with forms based on the shape of a protractor. The colored circles appear to roll through static squares.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Frank Stella, Damascus Gate (stretch version), 1970 </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Frank Stella, Lac Laronge III, 1969</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Frank Stella, Gobba, zoppa e collotorto, 1985<br />
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<tr><td class="tr-caption" style="text-align: center;">Frank Stella, K.144, 2013</td></tr>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Color remained important as Stella began to blur the distinction between painting and sculpture. Stella used color to add depth as his work became increasingly three- dimensional. The artist’s use of color challenged our notion of how color behaves both on the canvas and in sculptural form, drawing connections between painting, architecture, and movement. </span></span><b style="font-family: arial, helvetica, sans-serif;">Frank Stella: A Retrospective</b><span style="font-family: "arial" , "helvetica" , sans-serif;"> is on view at San Francisco's de Young Museum through February 26, 2017.</span></div>
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com102tag:blogger.com,1999:blog-46399757549349155.post-68367153499113036322016-10-20T14:17:00.000-07:002016-10-20T14:17:31.085-07:00Color for Schools<div class="p1">
<span class="s1">The school environment is a clear example of how color shapes human experience and behavior. Unfortunately, many public school color choices are relegated to administrative and maintenance staff. Classroom colors are often chosen based on ease of cleaning and cost cutting, so dull, institutional colors like grey and beige prevail. </span></div>
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<span class="s1">But thoughtful color choice in school environments is crucial to student engagement. Several significant studies show that children behave and perform better in spaces where color is carefully considered. Dr. Harry Wohlfarth performed a study in the early 1980s among schools where institutional colors prevailed. Students were “least stressed” in the school where drab walls were replaced with warm yellow and light blue and full spectrum lighting was added. The students also showed reduced aggression and higher I.Q. test scores. Other studies have shown that school color choices can have an important impact on issues like attention span and absenteeism. </span></div>
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<!--StartFragment--><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 9.5pt;">The
entrance to De Anza High School in El Sobrante, California. DLM
Architects photo by Tim Maloney</span><!--EndFragment-->
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<span class="s1">De Anza High, a public school in El Sobrante, California is a case in point. Built in 1955, the facility was long considered inadequate and had a reputation as a troubled school. Test scores and enrollment had sunk to new lows when the district broke ground on a new building in 2010 designed by the San Francisco office of DLM Architecture. Colour Studio was hired to develop both the interior and exterior color palette. “Color is relatively inexpensive way to bring energy and dynamism to a school,” says Colour Studio principal Jill Pilaroscia. For De Anza, lively shades were chosen for active spaces like the entry, corridors, gymnasium, and cafeteria/multi-purpose room. Quieter hues were employed to encourage focus in classrooms. To bring balanced energy into the auditorium of warm and cool hues, Colour Studio used warm woods, theatrical red velvet curtains, cool temperature paint and upholstery colors in deep blues.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The gymnasium at De Anza High School. DLM Architects photo by Tim Maloney</span></td></tr>
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The results of the new design and dynamic color program have been impressive. Enrollment grew significantly after the building opened in 2013, and grades have improved appreciably. The principal has also reported improvement in attitude. <span class="s1"></span></div>
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<span class="s1">For the Filipino Education Center, a public school in San Francisco, Roberta Wahl of PLUM Architects used color and thoughtful landscaping to energize the design. An urban school site for more than a century, this former preschool was converted into a middle school for 230 students in response to community outreach and feedback. A small footprint maximizes open space, which in turn is utilized for play yards and open garden seating.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 9.5pt;">The
Filipino Education Center designed by PLUM Architects. Photo
by JD Peterson<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The cafeteria at the Filipino Education Center designed by PLUM Architects. Photo by JD Peterson</span></td></tr>
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Because the redesign relied on public funds, Wahl explains, “It is our challenge to find an architecture that is delightful while meeting the limited budget given to us. We take this on with pleasure.”</div>
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<span class="s1">Color can energize a built environment in a highly cost-efficient manner. Wahl envisioned the building as a "little red schoolhouse," she says. At the same time, “There was a lack of green in the area so that was added to give vibrancy and a sense of urban “greenery.” Additionally, striking redwood staircases and lounging benches provide warmth and dynamism to the campus. “I wanted something ‘precious’ for the kids, something beautiful that they would typically not be given because people had little trust in them. This is where the wood came in. They loved it and after nearly ten years, it’s yet to be marred.” PLUM was awarded a Coalition for Adequate School Housing Award of Merit in 2009 for the project.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 9.5pt;">Nueva
School in San Mateo, CA was designed by LMS Architects. Photo by Kyle Jeffers<o:p></o:p></span></div>
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<span class="s1">Color is also an integral element at Nueva School in San Mateo, California, a private school designed by Leddy Maytum Stacy Architects in San Francisco. The firm used a Le Corbusier-inspired color palette of primary hues to add a playful, dynamic appeal to the building. Punches of bold color on the mostly warm gray exterior help bring distinct design elements into focus.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The Nueva School designed by LMS. Photo by Kyle Jeffers</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The gymnasium at Nueva School. Photo by Kyle Jeffers</span></td></tr>
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<span class="s1">The firm also employed strong color pops to connect the building to the outdoors, where generous public spaces are highlighted by splashes of blue, yellow, and red. For the interior, LMS maximized daylight with white surfaces that reflect sunlight to create a luminous environment. The school provides a variety of innovative educational environments - from flexible classrooms and outdoor seminar spaces to science laboratories and tech shops - designed to inspire the 21st-century student and offer a replicable new model for all schools.</span></div>
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As the stellar examples above show, there is no one formula for using color in an educational setting. However, a number of factors must be considered, Pilaroscia explains. A cross-disciplinary approach – one that considers grade level, demographics, culture and geography, biological and psychological responses – is the best way to bring color into our school's classrooms and corridors. <span class="s1"></span></div>
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<br />Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com113tag:blogger.com,1999:blog-46399757549349155.post-83150064750818231722016-08-15T15:02:00.003-07:002016-08-24T11:57:35.571-07:00Colorful Destinations<div class="p1">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Wanderlust runs deep in summer, so this month we’ve rounded up some of the most colorful </span><span style="font-family: "arial" , "helvetica" , sans-serif;">places </span><span style="font-family: "arial" , "helvetica" , sans-serif;">on earth </span><span style="font-family: "arial" , "helvetica" , sans-serif;">to whet the appetite for travel. From a sea of golden flowers in China to a </span><span style="font-family: "arial" , "helvetica" , sans-serif;">rainbow-hued i</span><span style="font-family: "arial" , "helvetica" , sans-serif;">dyll in Italy, each </span><span style="font-family: "arial" , "helvetica" , sans-serif;">is a destination worthy of an adventure.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Luoping, China</span></h3>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In China’s eastern Yunnan Province, the fields in Luoping county turn yellow when thousands of acres of canola flowers – </span><span style="font-family: "arial" , "helvetica" , sans-serif;">also </span><span style="font-family: "arial" , "helvetica" , sans-serif;">known </span><span style="font-family: "arial" , "helvetica" , sans-serif;">as rapeseed plants - bloom. Farmers harvest the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">abundant </span><span style="font-family: "arial" , "helvetica" , sans-serif;">crops to extract </span><span style="font-family: "arial" , "helvetica" , sans-serif;">oil for cooking. "As the plants sway in the breeze, the fields appear to be an </span><span style="font-family: "arial" , "helvetica" , sans-serif;">endless sea of </span><span style="font-family: "arial" , "helvetica" , sans-serif;">golden flowers," <i><a href="http://www.visiontimes.com/2015/03/03/a-gorgeous-sea-of-yellow-the-canola-flower-fields-of-luoping-photos.html?photo=3">Vision Times</a> </i>explains. According to those who have visited, the best </span><span style="font-family: "arial" , "helvetica" , sans-serif;">time to capture the dramatic scene is at dusk or dawn, when </span><span style="font-family: "arial" , "helvetica" , sans-serif;">the surrounding </span><span style="font-family: "arial" , "helvetica" , sans-serif;">mountain shadows create a distinct </span><span style="font-family: "arial" , "helvetica" , sans-serif;">contrast against the golden fields. The Lingyan Tem</span><span style="font-family: "arial" , "helvetica" , sans-serif;">ple atop a neighboring </span><span style="font-family: "arial" , "helvetica" , sans-serif;">hill is an excellent spot to view the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">splendor.</span></div>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">The Sea of Golden Flowers in Luoping, China<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Procida, Italy</span></h3>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This tiny island off the coast of Naples served as the cinematic backdrop to the film The <i>Talented Mr. Ripley</i>. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">At only 4 kilometers long, Procida is the smallest island in the Bay of Naples and is often overlooked by tourists </span><span style="font-family: "arial" , "helvetica" , sans-serif;">flocking </span><span style="font-family: "arial" , "helvetica" , sans-serif;">to nearby Ischia and Capri. Just a 40-minute hydrofoil ride from the mainland, Procida's main village </span><span style="font-family: "arial" , "helvetica" , sans-serif;">forms a tangle </span><span style="font-family: "arial" , "helvetica" , sans-serif;">of houses painted in pink, yellow, blue and green. The island is awash in pink bougainvillea </span><span style="font-family: "arial" , "helvetica" , sans-serif;">and white jasmine, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">with lemon groves dotting the land. The main attraction is the colorful fishing village of </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Marina Corricella, a </span><span style="font-family: "arial" , "helvetica" , sans-serif;">17th-century settlement built into the rock that can only be reached on foot by stairs in </span><span style="font-family: "arial" , "helvetica" , sans-serif;">passageways through </span><span style="font-family: "arial" , "helvetica" , sans-serif;">the houses. </span></div>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Procida is the smallest island in the Bay of Naples.</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The largest cultivation of lavender in the world, the famed and fragrant purple fields of Provence </span><span style="font-family: "arial" , "helvetica" , sans-serif;">bloom </span><span style="font-family: "arial" , "helvetica" , sans-serif;">every </span><span style="font-family: "arial" , "helvetica" , sans-serif;">summer </span><span style="font-family: "arial" , "helvetica" , sans-serif;">from June to August. Lavender is cultivated for use primarily in perfumes </span><span style="font-family: "arial" , "helvetica" , sans-serif;">and soaps but is </span><span style="font-family: "arial" , "helvetica" , sans-serif;">also </span><span style="font-family: "arial" , "helvetica" , sans-serif;">employed to flavor local </span><span style="font-family: "arial" , "helvetica" , sans-serif;">honey and ice cream. The fields are concentrated in the Luberon region, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">where </span><span style="font-family: "arial" , "helvetica" , sans-serif;">the two most spectacular viewing spots include the Abbaye Notre Dame de Senanque and the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">village </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Simiane la Roland. Visitors can tour lavender farms and distilleries; many offer open </span><span style="font-family: "arial" , "helvetica" , sans-serif;">houses in the summer. </span></div>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Lavender fields at The Abbaye de Notre Dame de Senanque in Provence</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Often called the flower shop of the world, Holland’s tulip fields and gardens are at their most colorful March </span><span style="font-family: "arial" , "helvetica" , sans-serif;">through May, when the renowned fields outside Amsterdam are awash in pink, purple, red, orange and yellow </span><span style="font-family: "arial" , "helvetica" , sans-serif;">blooms. You can visit the impressive Keukenhof Gardens, a dazzling display planted on 79 acres at the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Vondelpark castle estate, one of the largest flower gardens in the world. Visitors can also walk or bike through </span><span style="font-family: "arial" , "helvetica" , sans-serif;">the extensive surrounding farmer’s fields. Aerial views of the countryside reveal stunning saturated </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A kaleidoscope of color blooms every spring in this arid region of Namibia and South Africa. It’s the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">flowering </span><span style="font-family: "arial" , "helvetica" , sans-serif;">season known throughout the area as the Namaqualand daisy season. Orange, white and </span><span style="font-family: "arial" , "helvetica" , sans-serif;">pink daisies as well </span><span style="font-family: "arial" , "helvetica" , sans-serif;">as </span><span style="font-family: "arial" , "helvetica" , sans-serif;">hundreds of other wild flowering species carpet the otherwise barren landscape. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">This beautiful region of </span><span style="font-family: "arial" , "helvetica" , sans-serif;">wheat </span><span style="font-family: "arial" , "helvetica" , sans-serif;">fields, vineyards, and river valleys is named for its wide fertile plains that </span><span style="font-family: "arial" , "helvetica" , sans-serif;">turn black each winter after </span><span style="font-family: "arial" , "helvetica" , sans-serif;">the rains.</span></div>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Wildflowers in Namaqualand, a region of Namibia and South Africa</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The iconic Great Barrier Reef is one of the seven wonders of the natural world and home countless species </span><span style="font-family: "arial" , "helvetica" , sans-serif;">of colorful fish, coral and shells. Orange and white striped clownfish swim among purple anemones; polka-dotted </span><span style="font-family: "arial" , "helvetica" , sans-serif;">stingrays dip between bright pink coral and blue iridescent shells. According to an article in</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><a href="http://ngm.nationalgeographic.com/2005/05/coral-reefs/kaufman-text" style="font-family: arial, helvetica, sans-serif;">National Geographic, </a><span style="font-family: "arial" , "helvetica" , sans-serif;">scientists are learning to decipher the messages that these colors convey and to see them the way fish do: </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“Only in the past decade or so have we begun to understand how wavelengths of light (and therefore color) </span><span style="font-family: "arial" , "helvetica" , sans-serif;">appear at different depths and how various marine creatures’ eyes perceive and see each other – far differently </span><span style="font-family: "arial" , "helvetica" , sans-serif;">than humans see them.”</span></div>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Colorful marine life in the Great Barrier Reef</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Vermont, USA</span></h3>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">More than 3.5 million tourists come to Vermont annually to witness the dramatic display of autumn leaves. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">This heavily forested state is ablaze in fiery color each year during September and October. The best </span><span style="font-family: "arial" , "helvetica" , sans-serif;">spots for leaf peeping are the less traveled Northwest Kingdom and the southwest lake region along the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">New York border. One in every four trees in Vermont is a Sugar Maple – easily the star of the season’s </span><span style="font-family: "arial" , "helvetica" , sans-serif;">show. Maples display their red pigment and turn bright crimson as the days shorten and the leaves stop </span><span style="font-family: "arial" , "helvetica" , sans-serif;">producing chlorophyll. There are many driving and biking routes throughout the state for optimal viewing.</span></div>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Foliage season in Vermont</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Caño Cristales, Colombia</span></h3>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Located in the Serrania de la Macarena province of Meta, the Caño Cristales River is commonly called </span><span style="font-family: "arial" , "helvetica" , sans-serif;">the “river of five colors” or the “liquid rainbow” due to its striking hues. From the end of July through </span><span style="font-family: "arial" , "helvetica" , sans-serif;">November, the river bed is variously colored yellow, green, blue, black and especially red. The ubiquitous red, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">which ranges from pink to blood red to maroon, is caused by large quantities of the endemic plant species </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Macarenia Clarisera which adhere tightly to the rocks. Though shades of red are most common, the plant </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">turns green in shaded areas. Other colors come from the blue water, black rocks, and yellow sand, which </span><span style="font-family: "arial" , "helvetica" , sans-serif;">create an iridescent effect.</span></div>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">The rainbow-hued Caño Cristales in Colombia</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This surreal landscape, dubbed “Cotton Castle,” derives from springs in a cliff almost 200 meters high </span><span style="font-family: "arial" , "helvetica" , sans-serif;">overlooking the plain of Curusku in Southwest Turkey. The calcite-laden waters have created mineral </span><span style="font-family: "arial" , "helvetica" , sans-serif;">forests, petrified waterfalls, and a series of terraced basins. People have bathed in these pools, which </span><span style="font-family: "arial" , "helvetica" , sans-serif;">date to the 2nd century B.C., for t</span><span style="font-family: "arial" , "helvetica" , sans-serif;">housands of years. Unfortunately modern hotel development has </span><span style="font-family: "arial" , "helvetica" , sans-serif;">caused considerable damage to the area. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Pamukkali was declared a world heritage site in 1988; since </span><span style="font-family: "arial" , "helvetica" , sans-serif;">then, the hotels and main road have been </span><span style="font-family: "arial" , "helvetica" , sans-serif;">demolished and replaced with artificial pools.</span><br />
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Terraced basins at Pamukkali in Southwest Turkey</td></tr>
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com36tag:blogger.com,1999:blog-46399757549349155.post-44627322744386937942016-06-11T08:05:00.001-07:002016-07-20T12:10:21.018-07:00Painted Ladies: The Colorist Movement <span style="font-family: "arial" , "helvetica" , sans-serif;">Colour Studio principal Jill Pilaroscia played a pivotal role in San Francisco’s colorist movement, which spawned the popular “Painted Ladies” – fancifully painted Victorian houses for which the city is now famous. These houses are beloved by visitors around the world, but many don’t know the history behind them.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Painted Ladies on Steiner Street in Alamo Square, also known as Postcard Row</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">To begin, it's important to note San Francisco's role as a "unique architectural museum," write <i>The</i> </span><i style="font-family: arial, helvetica, sans-serif;">Painted Ladies</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> book series authors </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Michael Larson and Elizabeth Pomada. </span><span style="font-family: "arial" , "helvetica" , sans-serif;"> 48,000 Victorian houses were built here between 1850 and 1915</span><i style="font-family: arial, helvetica, sans-serif;">. </i><span style="font-family: "arial" , "helvetica" , sans-serif;">After the 1906 earthquake and fire, some 16,000 original houses remained; more modest and mass-produced homes were built on the western and southern sides of the city. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The colorist movement began in the “Psychedelic ‘60s” in San Francisco’s Haight Ashbury neighborhood, the heart of the counterculture of the time, Pilaroscia explains. "People wanted to show their <i>joie de vivre</i> and express their individuality through restoring and painting these beautifully ornamented buildings." Homeowners and professional housepainters adorned their Victorians in numerous whimsical colors, from vermillion and cobalt to gold and turquoise. Strong color was used to differentiate architectural detail and ornament typical of the period, including fanciful gingerbread trim and light-capturing bay windows. Color was used to accentuate the asymmetrical facades and detailed patterns that architects of the period used to distinguish buildings from one another.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">San Franciscans were “passionate about using color to make Victorian architecture sing,” Pomada and Larson point out in <i>How to Create Your Own Painted Lady</i>. “By painting Victorian homes with extraordinary details in every color that hand, mind, and eye can conceive, San Francisco’s colorist movement became a unique form of self-expression.”</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">As the <i>Christian Science Monitor</i> wrote in 1987, “What started as a lark became a local then national trend." The Painted Ladies effort eventually spread to nearly every American city with similar architecture, with notable concentrations in St. Louis, Baltimore, New Orleans, and Cincinnati.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Jill Pilaroscia mixing colors in the early days of the Painted Ladies</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Pilaroscia began mixing her own colors in 1975 after graduating from the San Francisco Art Institute, joining a “boys club” of local colorists/painters.“I had to be able to do everything they did,” she remembers, including mixing paint in the back of her truck and climbing scaffolding to apply it.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Pilaroscia's color scheme for 700 Broderick uses warm terra cotta tones and features a subtle faux finish on the massive chimney.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Pilaroscia's design for 700 Broderick Street sparkles with <span style="font-size: 12.8px;">23 karat patent gold leaf.</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Customizing color for these detail-rich structures was no simple task. “Victorian architecture provides many planes for color,” Pilaroscia says, “and each client wanted their house to look different.” I</span><span style="font-family: "arial" , "helvetica" , sans-serif;">n devising a color palette, s</span><span style="font-family: "arial" , "helvetica" , sans-serif;">he took cues from the house’s architecture to create a balanced, unique scheme. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">The house at 700 Broderick Street in San Francisco is a case in point. For this Stick/Eastlake structure, Pilaroscia hand-mixed each color based on the house's colorful stained glass window. The overall palette grew from those hues, she says. It was a study in cool and warm. "I like working with complimentary colors as it gives a scheme complexity and dimension," she notes. "You can see more gradations that way.”</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Integrating the house’s many surfaces which advance and recede as well as its ornaments is a main objective. “I like to do ribbons of color to weave the house together,” Pilaroscia explains. “It orchestrates the surfaces of a building and integrates the bay and the body.” </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pilaroscia's knowledge of color, along with her art and science practice set her up as an expert in her field. In 1987</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: red;"> </span>she </span><span style="font-family: "arial" , "helvetica" , sans-serif;">was recruited by Hewlett Packard's corporate real estate division<span style="color: red;"> </span>to become their global color consultant for both exterior and interior environments for 14 years. Yet the legacy of Pilaroscia's role in the colorist movement lives on. As Pomada and Larsen note, “The Painted Ladies make people look up. They make people more aware and eager for color, and not just on Victorians but on all styles of architecture.”</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Pilaroscia's 1919 Pierce Street color scheme painted by Local Color Painting</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pilaroscia states, "It was a privilege to be in involved with the Painted Ladies and the colorist movement. It allowed me the opportunity to contribute to San Francisco's beloved and dynamic visual landscape." </span><br />
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com115tag:blogger.com,1999:blog-46399757549349155.post-45896334969867471452016-05-31T17:21:00.000-07:002016-05-31T17:21:50.259-07:00Color Shock: Sandy Skoglund<div class="p1">
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<span style="font-family: "helvetica";">Sandy Skoglund is a conceptual artist and
photographer based in New Jersey. The artist began creating life-size
installations in the early 1970s. By the
late 1970s, she became interested in photographically documenting her conceptual
ideas. <o:p></o:p></span></div>
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<span style="font-family: "arial";">Color
plays a large role in Skoglund’s work.<span style="mso-spacerun: yes;">
</span>The artist employs contrasting hues within monochromatic scenes to
engage the brain's visual process using color
psychology and associations to manipulate the viewer's experience.<span style="mso-spacerun: yes;"> </span></span><br />
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<span style="font-family: "helvetica";">She works meticulously on large-scale
installations, crafting every detail by hand with a team of assistants.<span style="mso-spacerun: yes;"> </span>A single piece can often take several months
to complete. The resulting surrealistic scenes, dominated by strong
color, are sometimes playful, sometimes haunting.<span style="mso-spacerun: yes;"> </span>Art critic Marge Goldwater states Skoglund
can “</span><span style="font-family: "arial";">transform the
mundane into the mysterious."</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Germs are Everywhere, copyright 1984</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“Skoglund juxtaposes unlikely images to create tension and the impression of a world gone seriously wrong,” notes an article in <a href="http://www.artsask.ca/en/collections/themes/interiorplaces/sandy_skoglund/fox_games">Artask.com</a>. Most of her pieces feature an altered landscape or artificial environment where nature and human culture are twisted or exaggerated. They seem designed specifically to make the viewer uncomfortable.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Raining Popcorn, copyright 2001</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“Color vibration is always exciting to me, “ Skoglund shared via email. “The adjacent edges of contrasting cool and warm being my favorite strategy. I use this method in order to enhance the visual excitement within the images.” </span><span style="color: red; font-family: "\22 arial\22 " , "\22 helvetica\22 " , sans-serif;"> </span><span style="font-family: "\22 arial\22 " , "\22 helvetica\22 " , sans-serif;">She says, “I call my work with color ‘color shock."</span><br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-dQnvPuKpZng/V0JRVpJhqWI/AAAAAAAABx8/u1MqyAECGDokcXYSGR0HJYw3t-6csYiyACLcB/s1600/-RADIOACTIVE%2BCATS%25C2%25A91980.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="510" src="https://4.bp.blogspot.com/-dQnvPuKpZng/V0JRVpJhqWI/AAAAAAAABx8/u1MqyAECGDokcXYSGR0HJYw3t-6csYiyACLcB/s640/-RADIOACTIVE%2BCATS%25C2%25A91980.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Radioactive Cats, copyright 1980</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Two of her most renowned and evocative works, <i>Radioactive Cats </i>and<i> Revenge of the Goldfish</i>, appeared at the Whitney Biennial Exhibition in 1981. <i>Radioactive Cats </i>features green painted clay cats running amok in a grey kitchen. It is a scene she sculpted over a period of months and subsequently photographed. When asked about her color choice, Skoglund says, “I arrived at the green because the cats have turned radioactive and green would be one of the colors that you might think would reference nuclear properties.” </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Portrait of Sandy Skoglund, copyright A. Baccili 2016</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In </span><i style="font-family: arial, helvetica, sans-serif;">Revenge of the Goldfish</i><span style="font-family: "arial" , "helvetica" , sans-serif;">, the artist imagined the bedroom as a “watery” place and chose a blue-green aqua that she says “feels like water and sky at the same time.” “The vibration of orange against blue makes the orange more vivid and the blue more vivid than if they were by themselves,” she notes. “I wanted the vibrancy that comes from opposing colors banging up against each other.”</span></div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-a6mBPKNcdko/V0KAHhs1h_I/AAAAAAAABy4/Zr7cSG2BfY8x7X48IEjbJbfCGs9jwUI0gCLcB/s1600/-REVENGE%2BOF%2BTHE%2BGOLDFISH%25C2%25A91981.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="510" src="https://4.bp.blogspot.com/-a6mBPKNcdko/V0KAHhs1h_I/AAAAAAAABy4/Zr7cSG2BfY8x7X48IEjbJbfCGs9jwUI0gCLcB/s640/-REVENGE%2BOF%2BTHE%2BGOLDFISH%25C2%25A91981.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Revenge of the Goldfish, copyright 1981</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">For Skoglund's work entitled </span><i style="font-family: arial, helvetica, sans-serif;">Fox Games </i><span style="font-family: "arial" , "helvetica" , sans-serif;">she says,</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> “I wanted a true red, and the selection of grey had to do with a grey that would vibrate with the red. I always spend a lot of time on the color, getting the exact value, hue and intensity. “ </span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-MKfRhcmVCJ8/V0JUYlIcfkI/AAAAAAAAByQ/wEKIDZy-7VcrfBkk19DFwcJPiwCXVhjUACLcB/s1600/-FoxGames%25C2%25A91989.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://2.bp.blogspot.com/-MKfRhcmVCJ8/V0JUYlIcfkI/AAAAAAAAByQ/wEKIDZy-7VcrfBkk19DFwcJPiwCXVhjUACLcB/s640/-FoxGames%25C2%25A91989.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Fox Games, copyright 1989</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></td></tr>
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<span style="font-family: "helvetica";">In <i>Cocktail Party</i>, the artist used a method
she calls “color flooding.” The scene is
made up of bright orange cheese doodles, producing an almost neon effect merely
through repetition. “Some color is
naturally unnatural,” she points out. “I did not enhance the bright
yellow orange of the entire piece – I simply copied the garish color that was
already part of the identity of the subject matter.” </span><o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-_rVyXOJFHS8/V0JWWS2--0I/AAAAAAAAByc/SuBX4vT3oDAjNSwP5K5qsE4T7Lc8BbmOwCLcB/s1600/-THE%2BCOCKTAIL%2BPARTY%25C2%25A91992.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="484" src="https://3.bp.blogspot.com/-_rVyXOJFHS8/V0JWWS2--0I/AAAAAAAAByc/SuBX4vT3oDAjNSwP5K5qsE4T7Lc8BbmOwCLcB/s640/-THE%2BCOCKTAIL%2BPARTY%25C2%25A91992.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Cocktail Party, copyright 1992. </span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Whether she is evoking danger, disaster or uncertainty, Sandy Skoglund relies on color to surprise, unsettle, and trigger emotion.</span></div>
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com28tag:blogger.com,1999:blog-46399757549349155.post-69899588157863330522016-04-19T14:19:00.000-07:002016-04-19T14:19:21.991-07:00Color Sensation: Robert Swain<div class="p1">
<span style="font-family: "arial" , "helvetica" , sans-serif;">This month we’re eager to share the work of Robert Swain, a painter whose 50-year career has focused on the dynamics and subtleties of color. Swain’s large-scale, rainbow-hued grid paintings explore just how color is perceived and experienced by individual viewers. </span><br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-6hp85deoXrI/VwgWtuIGmzI/AAAAAAAABv0/0c0kSGlIPyEQkW202hF5fE1KNK1Bsknzg/s1600/swain2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="272" src="https://2.bp.blogspot.com/-6hp85deoXrI/VwgWtuIGmzI/AAAAAAAABv0/0c0kSGlIPyEQkW202hF5fE1KNK1Bsknzg/s640/swain2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Untitled, 10 ft. x 70 ft., 2014 Photo by Jeff McLane. From the show "Robert Swain: The Form of Color" at the Santa Monica Museum of Art, 2014</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In his artist’s statement, Swain describes color as a transfer of energy: </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">“<i>Color is a form of energy derived from the electromagnetic spectrum that stimulates our perceptual processes and is instrumental in conveying emotions." </i></span><span style="background-color: white; font-family: arial, helvetica, sans-serif;"><i> </i></span><br />
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<a href="https://2.bp.blogspot.com/-b-oil67WEZM/VxaWDBkHpdI/AAAAAAAABxk/SHSxQqlZ9Zs7KTzSJOYXKgKyj8kbJMv2wCLcB/s1600/Sine_waves_different_frequencies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://2.bp.blogspot.com/-b-oil67WEZM/VxaWDBkHpdI/AAAAAAAABxk/SHSxQqlZ9Zs7KTzSJOYXKgKyj8kbJMv2wCLcB/s640/Sine_waves_different_frequencies.jpg" width="640" /></a></div>
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Every visible color has a specific wavelength frequency. Red vibrates with a steady rolling stimulus, while purple at the opposite end of the spectrum vibrates with a high variable stimulus. These frequencies generate both biological and physiological responses that are body-based and primordial or empirically-based on one's positive or negative memories and experiences.</div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-1bjXbOkQ4AQ/Vwggm7XXr4I/AAAAAAAABw4/f02XxtA6v_kFFnwTgLLopK3bvmsW0o37Q/s1600/swainthreelarge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="390" src="https://4.bp.blogspot.com/-1bjXbOkQ4AQ/Vwggm7XXr4I/AAAAAAAABw4/f02XxtA6v_kFFnwTgLLopK3bvmsW0o37Q/s640/swainthreelarge.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Untitled 712, 7 ft. x 7 ft. (1978); Untitled 703, 7 ft. x 7ft. (1978); Untitled 10 ft. x 30 ft. (1973)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-emKmChl3L6w/VwgnlWsUvkI/AAAAAAAABxQ/7YZen2VwwKkeV1cS7nK6KvMmhUUYfdyuQ/s1600/swaincircle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="422" src="https://2.bp.blogspot.com/-emKmChl3L6w/VwgnlWsUvkI/AAAAAAAABxQ/7YZen2VwwKkeV1cS7nK6KvMmhUUYfdyuQ/s640/swaincircle.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Untitled, 30 Part Circle, 8 ft. 6 in. diameter. 1971. Swain's color system includes 30 distinct hues.</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Swain became fascinated with ways to understand and document color in the 1960s, and soon after began to develop his own color system. Mixing colors by hand in tiny jars, Swain painted small square color “chips.” He created paintings by “drawing” with these chips. </span></div>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-KfUwQYt3P58/Vwgd4I4C-zI/AAAAAAAABwo/4sJdGmLE49QIcGiDUjeaeGIyjBfG5fPTA/s1600/swaintupp2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="350" src="https://3.bp.blogspot.com/-KfUwQYt3P58/Vwgd4I4C-zI/AAAAAAAABwo/4sJdGmLE49QIcGiDUjeaeGIyjBfG5fPTA/s640/swaintupp2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Study for Tupperware, 1981</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Swain’s grid paintings, composed of carefully configured color squares, are intensified by scale: some reach as long as 70 feet.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Over the years the artist has experimented with endless configurations and juxtapositions, each producing a sense of movement and light within the work. Often the paintings show color in descending values, which gives the illusion of fading.</span></div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-f0OkqsOWhH8/Vwgg_vsLp-I/AAAAAAAABw8/pCRMMns1Bwgc_QqNrGR7uI62tmbBoYk5g/s1600/swainsquares.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://2.bp.blogspot.com/-f0OkqsOWhH8/Vwgg_vsLp-I/AAAAAAAABw8/pCRMMns1Bwgc_QqNrGR7uI62tmbBoYk5g/s640/swainsquares.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Untitled, 7 ft. x 7ft.-703; Untitled, 8 ft. x 8 ft. -AA. 2005-2006</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="p1">
<span style="font-family: "arial" , "helvetica" , sans-serif;">“Seeing color simultaneously brings out the dimensions of color -- the light to dark qualities, the saturation, the hue—and gives to the viewer a spectral array of what the dimension of colors are about,” the artist said in the video “<a href="https://www.youtube.com/watch?v=fCjSOFSPXjY">Visual Sensations: The Paintings of Robert Swain</a>.” </span></div>
<div class="p2">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="p1">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Swain purposefully eliminates all cultural references in an effort to present what he calls “a very direct experience, a color sensation.” </span></div>
<div class="p2">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-Anu3roExS8o/VwggUYiD5YI/AAAAAAAABw0/GucjaGmXgiYVF0_UkICMG-fBWoom66uog/s1600/swaintwosquares.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="370" src="https://4.bp.blogspot.com/-Anu3roExS8o/VwggUYiD5YI/AAAAAAAABw0/GucjaGmXgiYVF0_UkICMG-fBWoom66uog/s640/swaintwosquares.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Untitled, 10 ft. x 11 ft., 1973; Untitled, 10 ft. x 11 ft., 1973</span></td></tr>
</tbody></table>
<div class="p2">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="p2">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="p2">
<span style="font-family: "arial" , "helvetica" , sans-serif;">There is a palpable sense of movement and energy in each of these paintings. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">In viewing them, we grasp how color behaves on Swain's canvas.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">We see red advance and blue recede.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">The experience is a testament to the power of color—and the personal response it can bring out in all of us.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> Each of us may select a different favorite canvas and palette which makes Swain's color message timeless.</span></div>
Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com12tag:blogger.com,1999:blog-46399757549349155.post-3685893206278271552016-03-17T15:40:00.000-07:002016-03-18T17:12:33.972-07:00Graphic Color: Massimo Vignelli<div class="MsoNormal">
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<span style="font-family: "helvetica";">This month we pay tribute to the incomparable
designer Massimo Vignelli (1931-2014), whose influential modern aesthetic
hinged on primary colors and graphic forms. Born and trained in Milan,
Vignelli came to New York in 1965 and set up a multidisciplinary design firm
with his wife Leila, an architect. Throughout his career, Vignelli used color
to create a graphic language that spoke louder than mere words
could. <o:p></o:p></span></div>
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<a href="https://4.bp.blogspot.com/-hxalP44qUlg/VusijjvHDJI/AAAAAAAABtI/lP3UwxVwEJYLIMet-4PKemcnEwpfwaOXQ/s1600/Massimo_Vignelli11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://4.bp.blogspot.com/-hxalP44qUlg/VusijjvHDJI/AAAAAAAABtI/lP3UwxVwEJYLIMet-4PKemcnEwpfwaOXQ/s640/Massimo_Vignelli11.jpg" width="640" /></a></div>
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<span style="font-family: "helvetica";">Vignelli was celebrated for his bold use of color and
his insistence on simple, functional design. The designer's Heller
dinnerware is a staple of many modernist kitchens; his Ford Motors logo has
held fast for 50 years. <o:p></o:p></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
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<span style="font-family: "helvetica";">The designer also employed bright primary colors;
his Heller dinnerware and nearly ubiquitous Knoll Handkerchief Chair were issued in a rainbow of shades. He once famously declared, “Any color works if
you push it to the extreme.” </span><span style="font-family: "helvetica";"><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-MKlFnMLG3bg/VusppHB-IvI/AAAAAAAABvI/JXUWkf89srgEoYroOmguET5OxQEmjmSWw/s1600/91006-3336695-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="332" src="https://3.bp.blogspot.com/-MKlFnMLG3bg/VusppHB-IvI/AAAAAAAABvI/JXUWkf89srgEoYroOmguET5OxQEmjmSWw/s640/91006-3336695-1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Vignelli's vision for Knoll's handkerchief chairs manifests here in a striking orange.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Vignelli's American Airlines logo</span></td></tr>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
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<span style="font-family: "helvetica";">His 1972 design for the New York City subway map
was both celebrated and controversial. The map omitted many familiar features
like streets and parks, and confused riders at first.</span><span style="font-family: "helvetica";"><o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-gdYfVIkCp-o/VusnO5raB4I/AAAAAAAABuw/ReOgIZtN_qc9DITcwfT91jPaCDgAVue0Q/s1600/nyc-subway-map-1972.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="412" src="https://3.bp.blogspot.com/-gdYfVIkCp-o/VusnO5raB4I/AAAAAAAABuw/ReOgIZtN_qc9DITcwfT91jPaCDgAVue0Q/s640/nyc-subway-map-1972.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">New York City subway map</span></td></tr>
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<span style="font-family: "helvetica";">Gray, not green was used to denote Central Park;
beige, not blue indicated waterways. "You want to go from Point A to
Point B, period," he explained. "The only thing you are interested in
is the spaghetti.” Vignelli's revised design was heralded by New York Times’ architecture critic
Paul Goldberger as “more than beautiful…a nearly canonical piece of abstract
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-GglVCkig1WU/VuskgBvxt2I/AAAAAAAABts/vzga8ws5DJYkFpIVx56hxCrCtjBVgigSQ/s1600/vignelli.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://2.bp.blogspot.com/-GglVCkig1WU/VuskgBvxt2I/AAAAAAAABts/vzga8ws5DJYkFpIVx56hxCrCtjBVgigSQ/s640/vignelli.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Massimo Vignelli in black</span></td></tr>
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<span style="font-family: "helvetica";">He favored what has been called a
"severe" palette of red, black and white. Vignelli always
dressed in black, a color he considered all-powerful. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-QQfuYFsnwmo/VusqZ2_ItuI/AAAAAAAABvU/AhOrZj7CJFAD6pxtWElNl1uYiT0gpvFcg/s1600/Stendig-Calendar-2014_01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="438" src="https://2.bp.blogspot.com/-QQfuYFsnwmo/VusqZ2_ItuI/AAAAAAAABvU/AhOrZj7CJFAD6pxtWElNl1uYiT0gpvFcg/s640/Stendig-Calendar-2014_01.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Stendig calendar in black</span></td></tr>
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<span style="font-family: "helvetica";">He noted in an interview with the <a href="http://designobserver.com/"><span style="color: #0000e3; mso-bidi-font-family: "Century Gothic";">Design Observer</span></a>, "Black has class. It’s the best
color. There is no other color that is better than black. There are many others
that are appropriate and happy, but those colors belong on flowers. Black is a
color that is man-made. It is really a projection of the brain. It is a mind
color. It is intangible. It is practical. It works 24 hours a day. In the
morning or afternoon, you can dress in tweed, but in the evening, you look like
a professor who escaped from college. Everything else has connotations that are
different, but black is good for everything." </span><span style="font-family: "helvetica";"><o:p></o:p></span></div>
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<span style="font-family: "century gothic";"><br /></span>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-xizYCgr_WXk/VusnM4lBuqI/AAAAAAAABuQ/PA308lMe70cePTq16-D5h4btGa6LS-PVw/s1600/images-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="233" src="https://2.bp.blogspot.com/-xizYCgr_WXk/VusnM4lBuqI/AAAAAAAABuQ/PA308lMe70cePTq16-D5h4btGa6LS-PVw/s320/images-1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Knoll Cube</span></td></tr>
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<span style="font-family: "helvetica";">Red was another Vignelli signature color, as is
evident in his work for Knoll, Heller, JC Penny, and his own corporate
identity. He coined the term "Vignelli Red" which is
"somewhere on the border of red and orange." </span><span style="font-family: "helvetica";"><o:p></o:p></span></div>
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<span style="font-family: "helvetica";">At Colour Studio we believe judicious use of strong
color is infinitely powerful in communicating a message - be it through
graphics, architecture, product design, or art. Massimo Vignelli seamlessly
employed timeless colors to communicate ideas and emphasize functionality, and
for that we celebrate his work.</span></div>
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com86tag:blogger.com,1999:blog-46399757549349155.post-13211418813174170232016-02-12T15:26:00.000-08:002016-02-12T15:26:30.314-08:00Collected Color: The Harvard Pigment Library<div class="p1">
<span style="font-family: "arial" , "helvetica" , sans-serif;">As color experts, we're always excited to share new developments in the field with our readers. This month we're delighted to report that the Forbes Pigment Collection at the Harvard Art Museums is is now open to the public. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The precious pigments are newly assembled in floor-to-ceiling white cabinets based on the color wheel. Some are stored in their original delicate glass containers. Library visitors can even watch art conservators at work.</span></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-E6xLqUoR8hA/VqvJjB9de1I/AAAAAAAABoc/zuiGnsTHBr0/s1600/four%2Bpigment%2Bpics.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://2.bp.blogspot.com/-E6xLqUoR8hA/VqvJjB9de1I/AAAAAAAABoc/zuiGnsTHBr0/s640/four%2Bpigment%2Bpics.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Photos courtesy of Zak Jensen & Andrea Shea/WBUR </span></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-jQkp51phQsw/VqvkObzDpUI/AAAAAAAABpc/VK4WJn-7MBk/s1600/cabinets.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://1.bp.blogspot.com/-jQkp51phQsw/VqvkObzDpUI/AAAAAAAABpc/VK4WJn-7MBk/s640/cabinets.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Photo by Andrea Shea/WBUR</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The collection was conceived as a "laboratory for fine arts" in the 1920s by Edward Forbes, who later founded the Fogg Art Museum. It contains more than 2,500 pigments, including Egyptian blue glass from 1,000 BC and rare nuggets from Pompeii, as well as modern synthetic pigments.</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-3NvHKTu1WIk/VqvKJcI6d1I/AAAAAAAABpI/aDXB9QFdlkg/s1600/pink%2Bbottles.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="https://4.bp.blogspot.com/-3NvHKTu1WIk/VqvKJcI6d1I/AAAAAAAABpI/aDXB9QFdlkg/s640/pink%2Bbottles.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Photo by Peter Vanderwarker</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Some pigments have colorful backstories, as the <a href="http://news.harvard.edu/gazette/story/2015/09/a-wall-of-color-a-window-to-the-past/">Harvard Gazette recently reported.</a> Lapis lazuli stone, mined from quarries in Afghanistan, was used in medieval paintings and considered more precious than gold. A deep blue-red extracted from predatory sea snails was so costly Byzantine emperors banned its use outside the imperial court. The color later became known as “royal purple.”</span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-F-KOhTFQTb0/VqvJ_l_Im_I/AAAAAAAABo4/JZBXqzz_lF4/s1600/ultra%2Bmarine.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://4.bp.blogspot.com/-F-KOhTFQTb0/VqvJ_l_Im_I/AAAAAAAABo4/JZBXqzz_lF4/s640/ultra%2Bmarine.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Photo by Stephanie Mitchell</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">As for the history of the collection, Edward Forbes became interested in pigments shortly after he purchased the 14th-century Tuscan painting <i>Madonna and Child with Saint </i>in 1899. When the piece began to deteriorate, Forbes sought out pigments to help restore it. By the 1920s he was traveling the world in search of rare pigments. </span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-p4f48ZA1DYQ/Vqvqu-q5qOI/AAAAAAAABps/Aba8Toameec/s1600/forbes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="494" src="https://4.bp.blogspot.com/-p4f48ZA1DYQ/Vqvqu-q5qOI/AAAAAAAABps/Aba8Toameec/s640/forbes.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Portrait of Edward Waldo Forbes (1873-1969) by Charles Hopkinson, 1940</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">As the <a href="http://news.harvard.edu/gazette/story/2015/09/a-wall-of-color-a-window-to-the-past/">Harvard Gazette</a> writes, Forbes’ fascination with a painting’s colors fueled his desire to use science to understand and study great works of art. He is often referred to as the father of art conservation in the United States.</span><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-rNXkhcJdCb0/VqvJ4pqqmHI/AAAAAAAABow/1Ozveupf50Y/s1600/vials.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="274" src="https://2.bp.blogspot.com/-rNXkhcJdCb0/VqvJ4pqqmHI/AAAAAAAABow/1Ozveupf50Y/s640/vials.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Photo by Andrea Shea/WBUR</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Narayan Khandekar, Director of the Straus Center for Conservation and Research, which houses the Forbes Pigment Library/Photo by Stephanie Mitchell</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In 1927 Forbes established the Department of Research and Restoration at Harvard’s Fogg Museum. By the 1940s the department was being used to both authenticate and restore important works of art. Since then, samples of the precious pigments have been loaned to many museums and research facilities around the world. In a widely reported case in 2007, the research facility was used to invalidate two paintings attributed to Jackson Pollock. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We at Colour Studio look forward to a first-hand visit to the collection, so stay tuned for field notes. In the meantime you can find information on visiting the library or attending a workshop at <a href="http://www.harvardartmuseums.org/">Harvard Arts Museums.</a></span></div>
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<br />Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com9tag:blogger.com,1999:blog-46399757549349155.post-90859169803464096942016-01-18T13:27:00.000-08:002016-01-18T13:30:24.374-08:00Rich Color: Top Boutique Paint Brands<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: 13px;">It's hard to conjure colors more evocative than those found on the English coast. The earthy palette of brooding grays and moody blues are the hallmark of Farrow & Ball, the beloved boutique paint company founded in Dorset, England in 1946.</span><br />
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<span style="background-color: white; font-size: 13px;">Why bother with boutique paint? To start, many luxury paint brands offer deeper, richer and more complex colors based on high quality pigments derived from minerals and clay. More complex pigments make for more interesting colors, and these paints can often provide better coverage and durability, too. Low volatile organic compounds (VOCs) are yet another benefit, as are a much wider variety of finishes. Here, we've chosen five of the top boutique paint brands we think you should know about. </span></span><br />
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<span style="background-color: white; font-family: "arial" , sans-serif; font-size: 13px;">The best known of the bunch, <a href="http://us.farrow-ball.com/?gclid=CJaM99m1m8oCFYqGfgodX0MEYg"><b>Farrow & Ball's</b></a> paints are largely based on historic color palettes and archives. </span><span style="background-color: white; font-family: "arial" , sans-serif; font-size: 13px;">F & B has worked with the National Trust in the UK to formulate matches for the restoration of historic building interiors and exteriors. Their evocative color names such as Elephant's Breath and Dead Salmon are as unique as the hues themselves.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Farrow & Ball's historic colors for the National Trust<br />
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<tr><td class="tr-caption" style="text-align: center;">Farrow & Ball's Brassica No.271<br />
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<tr><td class="tr-caption" style="text-align: center;">Farrow & Ball's French Gray No.18, London Sone No.6, and Blackened No.2011</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">A fiery red from Farrow & Ball: Blazer No.212</td></tr>
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<span style="background-color: white; font-family: "arial" , sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; font-family: "arial" , sans-serif; font-size: large;"><b>Little Greene Paint Company</b></span><br />
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Another British manufacturer, <b><a href="http://www.littlegreene.com/">Little Greene Paint Company</a> </b>began as the Little Greene Dye Works of Collyhurst Wood on the outskirts of Manchester in 1773. Joshua Rowlands, the earliest identifiable proprietor of the works, drew upon his experience making dye solutions for the cotton trade. Today their stable of palettes includes the England Collection of 128 classic and contemporary colors, and Color Scales, an assortment of 48 sophisticated neutrals in 12 families. Little Greene Paint Company claims to contain 40 percent more pigment than ordinary brands, which result in richer color.</div>
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<tr><td class="tr-caption" style="text-align: center;">Little Greene Paint Company's Citrine (71) and Slaked Lime (105)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Little Greene Paint Company's Deep Space Blue (207), Jack Black (119), Mocha, and Tan</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">LIttle Greene Paint Company's Mazarine (256)</td></tr>
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<b><span style="font-size: large;">Ecos Paints</span></b><br />
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British-based <b><a href="http://www.ecospaints.net/">Ecos Paints,</a></b> whose client list includes the Louvre, contain no VOCs, toxins, or solvents. The water-based paints are all organic, and are completely odor and fume-free. This company gets the British Allergy Foundation seal of approval and offers 108 colors as well as a color matching service. <br />
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<tr><td class="tr-caption" style="text-align: center;">Ecos Paints are 100 percent organic.</td></tr>
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At <a href="http://www.ktcolor.ch/en/about-kt.color.aspx?skey=0&nid=60&cltid=1"><b>KT Color</b> </a>in Switzerland, Katrin Trautwein and her team handcraft pigment paint colors that are truly unique, using such rare pigments as chalk in Champagne, ochres from Burgundy, and lapis lazuli from the mountains of Afghanistan. As the company states on its website, "Connoisseurs of exclusive paints find theirs in our manufactory. While most others make paint with 12 tinting pastes, we scour the earth to find rare pigments." KT Color is the sole marketer of Le Corbusier's 120 colors, based on palettes he created in 1931 and 1959. </div>
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<tr><td class="tr-caption" style="text-align: center;">KT Color's founder, Katrin Trautwein</td></tr>
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KT Color describes their paint colors as those that "sparkle like freshly fallen snow. They reverberate into niches and corners, fill space with the sounds of silence, and glow like moonlight."</div>
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<tr><td class="tr-caption" style="text-align: center;">KT Color's Le Corbusier collection includes 120 colors.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Pops of vibrant color from KT Color's Le Corbusier collection</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">KT Color's paints are handcrafted in Switzerland.</td></tr>
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A US-based importer of high-end paints made in the Netherlands, <b><a href="http://www.finepaintsofeurope.com/">Fine Paints of Europe </a></b>has developed paint palettes by Martha Stewart and Pantone. The company offers a range of international color palettes including the National Color System, developed in 1750 by the Scandinavian Color Institute; and RAL, a color space system developed in 1927 with 1,900 colors. Fine Paints of Europe has a number of curated paint collections, including the Guggenheim Colors. These are inspired by much-loved paintings at the Guggenheim Museum and favored by curators, artists, and designers, including Frank Lloyd Wright himself. Fine Paints of Europe's owner John Lahey claims that paints made by his brand will last 8-20 years.</div>
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<tr><td class="tr-caption" style="text-align: center;">Fine Paints of Europe are crafted in the Netherlands and sold in the US.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Fine Paints of Europe is a 25-year-old family-run business whose paints should last up to twice as long as many commercial counterparts, owner John Lahey says.</td></tr>
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Boutique paint companies such as the European brands highlighted above are crafted to create richer, more complex colors. They offer a personalized approach to color that emphasizes quality of hue over quantity of colors. The paints are also made to endure. While the average American moves approximately every 4 to 7 years, Europeans are more likely to stay put for up to 15 years and expect their paint to last just as long. It's one of several reasons these specialty paints can outshine many of their more commercial American counterparts. Contact individual companies through their websites. Most offer fan decks and sample pots for purchase.</div>
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com29tag:blogger.com,1999:blog-46399757549349155.post-81653612006396009792015-12-08T11:48:00.000-08:002015-12-08T11:48:36.256-08:00Best of the Year: Eye-Popping Books on Color <div class="MsoNormal" style="line-height: 150%;">
<span style="line-height: 150%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">For the holiday season, we’ve selected a few gorgeously
illustrated new books in which rich color takes center stage.<o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-uUc4y5bcuIE/VmcMES-KwPI/AAAAAAAABg0/0jqfhtfj7E0/s1600/ahern.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="443" src="http://3.bp.blogspot.com/-uUc4y5bcuIE/VmcMES-KwPI/AAAAAAAABg0/0jqfhtfj7E0/s640/ahern.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In her new book on color, Abigail Ahern encourages readers to banish beige, boost color, and transform their home.</td></tr>
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<span style="line-height: 150%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://abigailahern.com/">Abigail Ahern’s</a> <i>Colour</i> takes readers on a journey into the
deep with its emphasis on dramatic aquamarine hues.<span style="mso-spacerun: yes;"> </span>Awash in blues and greens, the book is a
celebration of the British interior designer’s signature palette, which she
describes on her website as “an array of intoxicating, dark, inky bottom-of-the-lake hues, all tempered with the odd bright pop of color and ultra lux new
neutrals.”<o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-hITKE1TgOoU/VmcMWbhzlmI/AAAAAAAABg8/8dyK4Zsqf3o/s1600/abigail%2Bgreen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398" src="http://3.bp.blogspot.com/-hITKE1TgOoU/VmcMWbhzlmI/AAAAAAAABg8/8dyK4Zsqf3o/s640/abigail%2Bgreen.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photography by Graham Atkins-Hughes</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-X1Mw-NJyiLI/VmcMf0P9RTI/AAAAAAAABhE/J7psLFPhMNc/s1600/abigail%2Bbeige.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398" src="http://2.bp.blogspot.com/-X1Mw-NJyiLI/VmcMf0P9RTI/AAAAAAAABhE/J7psLFPhMNc/s640/abigail%2Bbeige.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photography by Graham Atkins-Hughes</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;">Ahern, who also owns two retail shops in London, is known
for her fearless use of color and seductively stunning interiors.</span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;"> B</span><span style="font-family: "arial" , "helvetica" , sans-serif;">eautifully photographed by <a href="http://www.grahamatkinshughes.com/">Graham Atkins-Hughes, </a><i>Colour</i> </span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;">exemplifies Ahern's confident style as
she encourages readers to be bold, take risks, and have fun with color rather
than fear it.</span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;">She outlines many practical
strategies for color, such as using it in unexpected places like inside kitchen
cabinets, or building the illusion of space by blurring boundaries between
walls and ceilings.</span></div>
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<span style="line-height: 150%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Organized by room and by specific color combinations, <i>Colour</i>
illustrates gorgeous uses for black and white, bold and dark colors, and even
neon. <o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-iMZpHmb7O8E/VmcMptOONfI/AAAAAAAABhM/4R-jrd9ibho/s1600/green%2Bjane.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-iMZpHmb7O8E/VmcMptOONfI/AAAAAAAABhM/4R-jrd9ibho/s640/green%2Bjane.gif" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A young Jane Fonda graces the cover of Michel Pastoureau's new book. Photograph by Horst P. Horst/ Conde Nast Collection</td></tr>
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<span style="line-height: 150%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">French historian Michel Pastoureau plumbs
the depths of a single hue in <i>Green: The History of a Color.</i> A follow-up to the
author’s previous two volumes, <i>Black </i>and <i>Blue</i>, the book examines the evolving
place of green in art, clothes, literature, religion, science and everyday
life.<span style="mso-spacerun: yes;"> </span>As this thoroughly researched book
so elegantly illustrates, over time green has been a color of contradictions --
a symbol of life and luck, but also one of decay, greed and poison.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/--kBNteRRtWc/VmcMzZ7FGHI/AAAAAAAABhU/iI0-KEnCGT8/s1600/gbhbook.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="336" src="http://1.bp.blogspot.com/--kBNteRRtWc/VmcMzZ7FGHI/AAAAAAAABhU/iI0-KEnCGT8/s640/gbhbook.jpeg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <i>The Grand Budapest Hotel </i>by Matt Zoller Seitz</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-2wkn0F7rvgA/VmcM9YBkDlI/AAAAAAAABhc/c-tD7FAxruM/s1600/gbhrf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-2wkn0F7rvgA/VmcM9YBkDlI/AAAAAAAABhc/c-tD7FAxruM/s640/gbhrf.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <i>The Grand Budapest Hotel </i>by Matt Zoller Seitz</td></tr>
</tbody></table>
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<span style="line-height: 150%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The Grand Budapest Hotel</i> by Matt Zoller Seitz is a compendium
to Wes Anderson's critically acclaimed film released earlier this year.<span style="mso-spacerun: yes;"> </span>This is a visual feast for the eyes with rich
illustrations of set design, costuming, and art direction. The book includes
interviews with lead actor Ralph Fiennes and key members of the production cast,
making it a worthy read for any film buff or creative.<o:p></o:p></span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-Dz2fYs635q0/VmcN9GeknRI/AAAAAAAABhk/CYjI7_IYRow/s1600/corbu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="http://2.bp.blogspot.com/-Dz2fYs635q0/VmcN9GeknRI/AAAAAAAABhk/CYjI7_IYRow/s640/corbu.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo of <i>Architectural Color Design</i> courtesy of Les Couleurs Swisse AG</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;"><i>Architectural Color Design </i>brings together all of Le
Corbusier’s 63 color palettes in one beautifully published volume.</span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;">The palettes, created in 1931 and 1959, are
the basis of Le Corbusier’s comprehensive theory of colors known as the
Architectural Polychromy.</span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;">The book is
not currently sold in the United States but can be ordered through <a href="http://www.lescouleurs.ch/les-couleurs-produkte/produkte/">Les Couleurs Swisse AG.</a></span></div>
Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com21tag:blogger.com,1999:blog-46399757549349155.post-63903180411690374102015-11-22T17:46:00.000-08:002015-11-22T17:53:27.874-08:00Artist Creates Visual Diary of Color-Coded Emotions<div class="MsoNormal">
<span style="font-family: "arial";">Portuguese designer Luis
Giestas recorded his emotions, at every hour, for 300 days, and laid out the
result in a series of color-coded diaries.<span style="mso-spacerun: yes;">
</span>The project started as an exercise in dealing with anxiety, and unfolded
to explore and document the whole range of basic universal emotions as
represented by distinct colors.<o:p></o:p></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ZTB4zuHp0zo/VlJsUimWVRI/AAAAAAAABfE/b1nQ8cOljzk/s1600/giestas_4%2B%25282%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="432" src="http://2.bp.blogspot.com/-ZTB4zuHp0zo/VlJsUimWVRI/AAAAAAAABfE/b1nQ8cOljzk/s640/giestas_4%2B%25282%2529.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">photo courtesy of the artist</span></td></tr>
</tbody></table>
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<span style="font-family: "arial";">The artist’s color-coded
matrix, entitled “Soft Cover Emotions,” is largely based on psychologist Robert
Plutchik’s Wheel of Emotions.<o:p></o:p></span><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-6fUhMbj7pRs/VlJsj1_XoGI/AAAAAAAABfM/wVndQ-vewCY/s1600/giestas_3%2B%25283%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="http://4.bp.blogspot.com/-6fUhMbj7pRs/VlJsj1_XoGI/AAAAAAAABfM/wVndQ-vewCY/s640/giestas_3%2B%25283%2529.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">photo courtesy of the artist</span></td></tr>
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<span style="font-family: "arial";">The result is a series of
three visual diaries, each one adding a twist to the initial premise. The first
volume displays the sheer variety of emotions one goes through in a single
day.<span style="mso-spacerun: yes;"> </span>The second version shows us that
the emotions we feel and the ones we express are not always the same, while the
third volume plays with expectations, reality and memories.<o:p></o:p></span><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-lty2IcAkDMI/VlJs0LNd3lI/AAAAAAAABfU/zfxUHvSOgeQ/s1600/giestas_5%2B%25282%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="http://2.bp.blogspot.com/-lty2IcAkDMI/VlJs0LNd3lI/AAAAAAAABfU/zfxUHvSOgeQ/s640/giestas_5%2B%25282%2529.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">photo courtesy of the artist</span></td></tr>
</tbody></table>
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<span style="font-family: "arial";">The emotions range from
serenity to ecstasy, or from pensiveness to grief. The unconscious hours of
sleep are represented in black.<o:p></o:p></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-tqanM1KW31A/VlJtJDg0kAI/AAAAAAAABfc/yUb6-yp8WtI/s1600/giestas_9%2B%25281%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="428" src="http://4.bp.blogspot.com/-tqanM1KW31A/VlJtJDg0kAI/AAAAAAAABfc/yUb6-yp8WtI/s640/giestas_9%2B%25281%2529.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">photo courtesy of the artist</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The second volume introduces
a twist to the premise: each page is divided in two; the bottom half showing
the emotions that are felt and the top half displaying the emotions expressed.<o:p></o:p></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Om2s6VBVvIE/VlJtb_0GCMI/AAAAAAAABfk/8nUoFGDG9Go/s1600/giestas_10%2B%25281%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://4.bp.blogspot.com/-Om2s6VBVvIE/VlJtb_0GCMI/AAAAAAAABfk/8nUoFGDG9Go/s640/giestas_10%2B%25281%2529.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">photo courtesy of the artist</span></td></tr>
</tbody></table>
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<span style="font-family: "arial";">Whenever there is a
discrepancy between what is felt and what is expressed, a split line is created
in the middle of the page.<o:p></o:p></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-_rAJPKgss9I/VlJtq0T1kzI/AAAAAAAABfs/69LjFNu5J0Y/s1600/giestas_11%2B%25281%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://4.bp.blogspot.com/-_rAJPKgss9I/VlJtq0T1kzI/AAAAAAAABfs/69LjFNu5J0Y/s640/giestas_11%2B%25281%2529.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">photo courtesy of the artist</span></td></tr>
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<span style="font-family: "arial";">The third volume explores
the issues of expectations and memory.<span style="mso-spacerun: yes;">
</span>The top third shows the emotions expected the following day; the middle
section displays the emotions felt in the present moment; and the bottom shows
the emotions recalled 24 hours later.<span style="mso-spacerun: yes;">
</span>The emotions that cannot be recalled or predicted are displayed in
white.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "arial";">This exhaustive and
repetitive process of recording ended up inspiring other issues, such as the
expression of our feelings, how we are constantly surprised about what we
expect to feel even during our daily routine, and our capacity to have a clear
image of our emotions and store them in our memory.<o:p></o:p></span></div>
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<span style="font-family: "arial";">This color-based project
resulted in some important insights, the artist points out.</span><span style="mso-spacerun: yes;"> </span><span style="font-family: "arial";">“Before starting the project I thought I had
a clear sense of how I feel, and now I know that the image I have of myself is
a very unstable approximation of an ever-changing stream of emotions.</span><span style="mso-spacerun: yes;"> </span><span style="font-family: "arial";">This is something we all know in a way, but
to be able to see the graphical evidence of it as represented by color made the
painstaking process of recording completely worth it."</span></div>
Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com27tag:blogger.com,1999:blog-46399757549349155.post-19068545235478870022015-10-06T12:58:00.003-07:002015-10-06T14:24:53.668-07:00The Colorful Dynamics of Glass<div class="separator" style="clear: both; text-align: center;">
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As the San Francisco skyline welcomes new silhouettes to its configuration, Colour Studio has had the opportunity to be involved in color selections for various high rises going up in the area. This has presented the interesting challenge of selecting glass color in conjunction with exterior colors, materials and finishes.<br />
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Over the past years, requirements to meet Title 24 regulations and earn points toward LEED accreditation, glazing systems have become critical factors in building performance and ultimately to regional building approvals. Even in cases of high performance glass, there is still a perceivable color cast that needs to be factored into the overall color program. Selecting glass color is a multi-layered process, encompassing both function and aesthetic. In this post, we look at the elements that impact the way glass color makes itself apparent in our constructed landscapes.<br />
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<tr><td class="tr-caption" style="text-align: center;">One World Trade Center : New York City, NY</td></tr>
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<u><span style="font-size: large;"><i>Glass in the Sky</i></span></u><br />
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<u><span style="font-size: large;"><i></i></span></u>The surrounding sky is an important aspect when considering glass color. Every geographic location has its own unique sky color. It is important to select glass colors that work with the sky in the specific region. If the glass color is not complementary to the surrounding sky, it will drastically affect how the glass color is perceived.<br />
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<tr><td class="tr-caption" style="text-align: center;">W Hotel : Barcelona, Spain</td></tr>
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<u><span style="font-size: large;"><i>Glass in Urban Settings</i></span></u><br />
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In dense urban environments, characteristics such as reflectivity and transparency will affect the way glazing system is experienced. Highly reflective glazing systems will create a mirror effect, magnifying the surrounding conditions that may clash or complement other building elements. Considering neighboring buildings is always important when making material color selections, but especially so when selecting glass color.<br />
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<tr><td class="tr-caption" style="text-align: center;">Seagram's Building, London, England</td></tr>
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<span style="font-size: large;"><u style="font-style: italic;">Clear Glass</u></span><br />
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Even in the case of clear glass, there will still be at least a hint of color. Hardware becomes more of a design component in these instances, and sophisticated structural hardware and fastening systems have more of a visible impact. Selecting complimentary fixtures in appropriate sizes can be equally as important as paying careful attention to the coloring of the glass itself. Both will work together to create an overall aesthetic.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-uYmXWsJphLw/VbLlZxV7hLI/AAAAAAAABYU/jcdWsqevm7I/s1600/Apple_Store_Fifth_Avenue.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="422" src="http://2.bp.blogspot.com/-uYmXWsJphLw/VbLlZxV7hLI/AAAAAAAABYU/jcdWsqevm7I/s640/Apple_Store_Fifth_Avenue.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Apple flagship store, New York, NY</td></tr>
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<span style="font-size: large;"><u style="font-style: italic;">Colored Glass Accents</u></span><br />
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Colored glass can be playful yet functional way to enliven a building. This strategy can have a dynamic impact on the project as it not only impacts the exterior skin, but will filter into interior spaces as the light changes throughout the day.</div>
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<tr><td class="tr-caption" style="text-align: center;">International Management Institute, Kolkata, India</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Miami Airport, Miami, FL</td></tr>
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As colorists, we can not rely solely on glass as a passive, decorative element in building composition. We must make selections for glass surfaces that enhance performance and lessen the impact of the built environment on our planet. Objective color takes into consideration all variables, both environmental and project driven. They challenge is to find the balance.<br />
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com20tag:blogger.com,1999:blog-46399757549349155.post-31106831456567078102015-04-30T13:35:00.000-07:002015-04-30T13:36:13.846-07:00Brutal Color: Influencing The Human Experience of Architecture Through Color<div style="text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Bucolic Brutalism by David Evers</td></tr>
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As architectural colorists, we are interested in the role color can play in creating humanized spaces within our constructed environments. One example of architecture enhancing the relationship between color and the user is Brutalism. Brutalist architecture is often perceived as
austere and unemotional. Its name comes from the french "béton brut",
or raw concrete. Born as a response to post World War II ideals of
strength, functionality, and social homogeneity, Brutalism is
characterized by an aesthetic of form following function with a purist sense of materiality. Designs typically use formidable monolithic masses of concrete, glass and steel that dwarf the human
scale. The materials provide a neutral backdrop which can provide a canvas for color to shape human response. <br />
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<span style="font-size: large;"><u><b>Color Fus<span style="font-size: large;">es</span> by Milton Glaser</b></u></span></div>
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<span style="font-size: large;">Ind<span style="font-size: large;">ianapolis, Ind<span style="font-size: large;">iana</span></span> </span></div>
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<span style="font-size: large;"><span style="text-decoration: underline;"><br /></span></span><a href="http://3.bp.blogspot.com/-2E9yxHbAbzU/VSdAdvGcjNI/AAAAAAAABSY/UmOmWfaZD78/s1600/getPictures.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-2E9yxHbAbzU/VSdAdvGcjNI/AAAAAAAABSY/UmOmWfaZD78/s1600/getPictures.jpg" height="425" width="640" /></a></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><br /></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Milton Glas<span style="font-size: small;">er's mural Color <span style="font-size: small;">F<span style="font-size: small;">us<span style="font-size: small;">es</span></span></span> wrap<span style="font-size: small;">s the <span style="font-size: small;">grou<span style="font-size: small;">nd floor o</span></span>f the<span style="font-size: small;"> Minton C<span style="font-size: small;">ape<span style="font-size: small;">h<span style="font-size: small;">art Federal Building and is <span style="font-size: small;">a spectacu<span style="font-size: small;">lar example<span style="font-size: small;"> of <span style="font-size: small;">how color can tran<span style="font-size: small;">form a<span style="font-size: small;"> col<span style="font-size: small;">d and bare space i<span style="font-size: small;">nto <span style="font-size: small;">one that is <span style="font-size: small;"><span style="font-size: small;">both st<span style="font-size: small;">imulat<span style="font-size: small;">ing and </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">inviting</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>. <span style="font-size: small;">Or<span style="font-size: small;">ig<span style="font-size: small;">in<span style="font-size: small;">ally completed in 1975<span style="font-size: small;"> and restored in 2002,<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span></span></span></span></span></span></span></span><span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">the piece</span> celebrates the interplay of color and light.<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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Glaser programmed the exterior perimeter lighting to illuminate his mural with a slow rise and fall sequence. This rhythm alludes to the gradual rising and setting of the sun and the timeless wonder associated with the qualities of light as it shifts and reveals itself on the horizon. The <span style="font-size: small;">other<span style="font-size: small;">wise bar<span style="font-size: small;">ren space glows with warm<span style="font-size: small;"> col<span style="font-size: small;">or, creating a dynamic pedestrian experience. </span></span></span></span></span><br />
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<span style="font-size: large;"><u><b>Albert Einstein High School by NJB Architects and Francois Privat A<span style="font-size: large;">rchitects</span></b></u></span></div>
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<span style="font-size: large;"> <span style="background-color: white; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 20px; text-align: start;">Languedoc-Roussillon, </span>France</span></div>
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<span style="font-size: small;">Albert Einstein High School is an example of color as a tool for creating human scaled dimensions within large scaled environments. Built in the 1960s, the complex is made up of large linear buildings. Concrete framed volumes with three to four story curtain walls organize the regimented site in a strict grid with indifference to the human condition.</span></div>
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NJB Architects with Francois Privat Architects have redesigned this lifeless campus with an energetic color palette that breaks the regularity of the organization, creating a stimulating visual quality to the otherwise mundane environment. <span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">The <span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">m<span style="font-size: small;"><span style="font-size: small;">onolithi<span style="font-size: small;">c structures <span style="font-size: small;">are softened by bright col<span style="font-size: small;">or<span style="font-size: small;">ed stripe<span style="font-size: small;">s </span><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">which <span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">both reference and b<span style="font-size: small;">reak the defining regularity of the project.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: large;"><b><u>Unite d'Habitation by Le Corbusier.</u></b></span></div>
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<span style="font-size: large;">Marseille, France</span></div>
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Corbusier's Unite d'habitation is arguably one of the most widely
recognized brutalist buildings. Designed as a "machine for living", the
18 story concrete block was completed in 1952. The massive concrete
structure allows for high density occupation while a strict grid divides
the building into a more human scaled module. Color introduces a
layer of individuality between the units, enforcing the human dimension
within the project. The palette includes sixteen different tones, which
yield a large number of color combinations that individualizes the 336
apartments. Different from Le Corbusier’s purist buildings, where he
used color mostly as a tool to articulate and modify space, the Unite
d’habitation in Marseille marks a shift towards the independence of
color from form, and the social dimension of color.</div>
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The brutalist structures that dominate their surroundings provide exemplary models for the role color plays in creating environments. The architectural composition of these projects are sometimes perceived as severe and foreboding. However, when paired with a rich color program, the buildings come to life, illustrating the relationship of color and its ability to inform human experience.</div>
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com28tag:blogger.com,1999:blog-46399757549349155.post-70311616596431471362015-01-23T12:34:00.000-08:002015-01-23T12:34:07.405-08:00The Colorful World of TetrachromacyA wonderful ballet of reds, blues, and greens choreograph the rich colors we experience in both our natural and built environments. This art of color recognition is founded in neuroscience. The average human eye contains three cone cells embedded within the retina. These cones register light at different wavelengths, which transmit data to the brain. Here they combine, resulting in the phenomenon we know as color. The human eye can register millions of colors, which makes the world a delightful playground for artists and colorists like us. But what if we are limited by our three cones and the world is actually more colorful than we know?<br />
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<tr><td class="tr-caption" style="text-align: center;">Image of a gailardia flower in simulated tetrachromatic vision. Image courtesy of Dr. Klaus Schmitt.</td></tr>
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A rare condition known as tetrachromacy has proven that the millions of colors the average human eye can see is just the tip of the rainbow. A mutation found in almost 12% of women, tetrachromacy is the condition of possessing an additional cone in the retina, which is more sensitive to the color scale between red and green. This allows them to see up to 100 times as many colors as a the rest of us who only possess three cones. Recent research has shown that these women tend to excel in the fields of design and visual arts.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-debK8j2a66w/VLLOlcIy5GI/AAAAAAAABPw/1ONWG41YoPw/s1600/tetra-simulation1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-debK8j2a66w/VLLOlcIy5GI/AAAAAAAABPw/1ONWG41YoPw/s1600/tetra-simulation1.jpg" height="640" width="626" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="irc_su" dir="ltr" style="text-align: left;">Image of
a rudbeckia flower, first in visible light, second with simulated
tetrachromatic vision. Photo Credit: Dr. Klaus Schmitt </span></td></tr>
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Color is extremely personal. There is no way to know if the shade of green one person sees is exactly the same as what another sees. <a href="http://www.bbc.com/future/story/20120209-do-we-all-see-the-same-colours">http://www.bbc.com/future/story/20120209-do-we-all-see-the-same-colours</a>. For this reason, tetrachromats have difficulty explaining how the colors they see differ from the color trichromats (people with three-cones) see. However, artist Concetta Antico, who genetically tests positive and is a research subject for tetrachromacy, is making strides in this area. Her vibrant paintings depict prismatic scenes where light and color form dynamic illustrations of everyday objects.<br />
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<tr><td class="tr-caption" style="text-align: center;">Painting of a Eucalyptus by Concetta Antico with image of the original scene.</td></tr>
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Even with three cones, the eye sometimes needs to be trained to see the
full spectrum of colors. The same applies to women with tetrachromacy.
Not all cases of the mutation allow the subject to experience this
"super human vision". However, some scientists believe that the women who possess the ability to function tetrachromatically may be ahead of human evolution. One day, maybe all of us will be able to live in a colorful tetrachrome world.<br />
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<br />Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com46tag:blogger.com,1999:blog-46399757549349155.post-18469638955381888782014-12-29T08:40:00.002-08:002015-01-05T10:22:49.004-08:00The Business of Brand ColorWhen it comes to branding and business, color has the ability to communicate instantaneously without words. It can trigger emotions, memories, desire and recognition. A thoughtfully conceived color campaign makes any brand recognizable and memorable to its target audience.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-b-r1W9BZhbE/VHJVF9Yq2tI/AAAAAAAABNE/wARoKqcrSho/s1600/tiffany-blue.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-b-r1W9BZhbE/VHJVF9Yq2tI/AAAAAAAABNE/wARoKqcrSho/s1600/tiffany-blue.jpg" height="640" width="518" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image courtesy of Tiffany's' 2011 Christmas ad campaign</td></tr>
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<u><b>Tiffany & Co.</b></u><br />
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Tiffany Blue is arguably one of the most recognized colors in brand advertising. The color was selected in 1845 by the company's founder, Charles Lewis Tiffany, for the cover of the first mail order couture jewelery catalogue published in the United States. Trademarked by Tiffany & Co., Tiffany Blue is a private custom color. You can find it in the Pantone system as PMS number 1837, which is the year the company was founded. The robins egg blue was chosen because of its popularity with Victorian brides, and for the turquoise colored gemstones that were in style in the mid-19th century.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-MGbA8UIwJQA/VHJVDRcr8FI/AAAAAAAABNU/Ro_beMh_ID8/s1600/Christian-Louboutin-Fall-Winter-2011-lookbook-03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-MGbA8UIwJQA/VHJVDRcr8FI/AAAAAAAABNU/Ro_beMh_ID8/s1600/Christian-Louboutin-Fall-Winter-2011-lookbook-03.jpg" height="640" width="532" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photographed by Peter Lippmann as a part of the 2011 Fall/ Winter ad campaign, this scene was inspired by Francois Clouet's portrait of Elizabeth of Austria, Queen of France</td></tr>
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<b><i><u>Christian Louboutin</u></i></b><br />
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Christian Louboutin's provocative red shoe soles distinguish his product from other designers, effectively transforming every pair of seductive heels into a walking advertisement. Louboutin trademarked his "signature" red in 1993. The color is registerd as Pantone 18-1663 TPX and was recently at the center of legal proceedings between Louboutin and competitor Yves Saint Laurent (YSL) for rights to the red sole. YSL has since dropped its lawsuit and Louboutin has expanded the color into a line of nail polish appropriately named Rouge.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-uHE5MHuJTk8/VJSk_-CwamI/AAAAAAAABOc/J1HTZAZpuGM/s1600/Prada_Cloverleaf_Paris_Faoubourg.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-uHE5MHuJTk8/VJSk_-CwamI/AAAAAAAABOc/J1HTZAZpuGM/s1600/Prada_Cloverleaf_Paris_Faoubourg.jpg" height="418" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Prada store in Nanning, China.</td></tr>
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<b><i><u>Prada</u></i></b><br />
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Prada has a history of privilege, which is conveyed in the trademarked Prada Green introduced in 1983. The first Prada shop was opened in Milan in 1913 by Mario and Martino Prada and by 1919 the shop was honored as the Official Supplier to the Italian Royal Household, becoming an established brand amongst the European artistocracy. In 1983 Prada opened a second location in Milan and introduced the pale green that would become known as Prada Green. The new store merged its traditional history with modern styles, establishing Prada as the fashion powerhouse we know today.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-6Dkam_ipTVI/VJSlA78SoBI/AAAAAAAABOQ/y971fkheBNQ/s1600/hermes4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-6Dkam_ipTVI/VJSlA78SoBI/AAAAAAAABOQ/y971fkheBNQ/s1600/hermes4.jpg" height="417" width="640" /></a></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-hVLTL3vHXSE/VJSlAbQiZTI/AAAAAAAABOI/tvPqK-UUtSI/s1600/hermes-boxes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-hVLTL3vHXSE/VJSlAbQiZTI/AAAAAAAABOI/tvPqK-UUtSI/s1600/hermes-boxes.jpg" height="305" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hermes 2009 Ad Campaign by Raquel Zimmerman</td></tr>
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<b><i><u>Hermes</u></i></b><br />
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Thierry Hermes founded Hermes in 1837 producing high quality harnesses and bridles for the carriages of the European nobility. With roots in functionality, Hermes orange became the company's calling card in the mid 1950s during World War II. Paper products were hard to come by and the orange color was all that was available for packaging their merchandize. Many decades later, the iconic orange remains the company's calling card and is recognized across the globe as a symbol of quality and sophistication.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-4ob_QdWmQR4/VJSnoQMbw_I/AAAAAAAABO0/0e4M8_9yUyQ/s1600/color-841x1024.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-4ob_QdWmQR4/VJSnoQMbw_I/AAAAAAAABO0/0e4M8_9yUyQ/s1600/color-841x1024.jpg" height="640" width="523" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image courtesy of Digibuzz</td></tr>
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The caveat is color can be highly subjective. While there is evidence supporting the idea that certain colors incite specific emotional responses,( i.e. yellow makes people happy, blue makes people calm, red makes people excited), these responses are subject to other undercurrents that play a role in how color is perceived, such as personal experience and cultural associations. Successful color campaigns balances color psychology with an understanding the brand's target audience.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-khL-WiYbnCk/VHJXVba9rLI/AAAAAAAABNw/zlOk2zGYhl8/s1600/elearning_design_colors.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-khL-WiYbnCk/VHJXVba9rLI/AAAAAAAABNw/zlOk2zGYhl8/s1600/elearning_design_colors.jpg" height="424" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image courtesy of Digitec Interactive.</td></tr>
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While colors come in and out of style, savvy color selection creates a brand image that is both identifiable and timeless. Color is smart business.Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com155tag:blogger.com,1999:blog-46399757549349155.post-87848861470289119712014-11-03T13:35:00.002-08:002014-11-05T09:42:34.039-08:00Colorful Quilted Landscapes at Material Test FarmsAs architectural colorists, we are often faced with the questions of how the materials and finishes we recommend to our clients will stand up to the test of time. When specifying color for those materials, durability is extremely important. We rely on companies to provide accurate information about the lifespan of their products. This information is gathered at weathering test farms, which form colorful quilted landscapes in some of the worlds' most extreme climates. <br />
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<tr><td class="tr-caption" style="text-align: center;">Atlas Outdoor Testing Facility, Arizona</td></tr>
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Vast arrays of test fences showcasing a variety materials, ranging from metal panels to textiles and automotive coatings, provide unprotected exposure to deadly elements like UV rays, moisture, and heat. The process is simple, and yet imperfect because weather itself is unpredictable. However, outdoor weather testing is still the most reliable way to observe product responses to the elements.<br />
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<tr><td class="tr-caption" style="text-align: center;">Atlas South Florida Test Facility</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Atlas South Florida Testing Facility</td></tr>
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The first weather testing of architectural materials and finishes was recorded in 1906 at the Government Agricultural Experiment Station in Fargo, ND. Outdoor testing facilities later opened in South Florida in 1931 and in Arizona in 1948, where climates are particularly harsh. O<span style="text-align: center;">utdoor testing facilities have now spread
across the world to North
and South America, Europe, Africa, Australia and Asia.</span></div>
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<tr><td style="text-align: center;"><img border="0" src="http://1.bp.blogspot.com/-7m_hQQzky88/VE7SiphEfbI/AAAAAAAABIc/Ii_bK_RZtMU/s1600/172051.jpg" height="384" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #444444; font-family: sans-serif; line-height: 18px; text-align: left;"><span style="font-size: x-small;">Q-Lab Florida has the most southerly exposure of any outdoor weathering facility in the United States</span></span></td></tr>
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Testing materials in different geographic settings allows us to make informed decisions about the materials and finishes we recommend, and allows the industry to improve products on the market. At Colour Studio our clients rely on us to recommend quality products that will offer high performance after installation.<br />
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<br />Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com92tag:blogger.com,1999:blog-46399757549349155.post-46615444292351524122014-10-03T15:05:00.003-07:002014-10-03T15:05:43.291-07:00Color Icon : Alexander Girard "Art is only art if it is synonymous with living" - Alexander Girard<br />
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<a href="http://2.bp.blogspot.com/-mMUCQKZbwQk/VCjEcfaD27I/AAAAAAAABD0/VVBeKEdPtmU/s1600/girard_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-mMUCQKZbwQk/VCjEcfaD27I/AAAAAAAABD0/VVBeKEdPtmU/s1600/girard_1.jpg" height="632" width="640" /></a></div>
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Alexander Girard (1907-1993) designed vast volumes of textiles, wall paper, furniture, and interior architectural details that brought together color and function to enhance quality of life. His confident use of vibrant colors and playful patterns defined a generation, and still remain relevant today. <br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-KWgYLwYeBaE/VCjEWVzjzoI/AAAAAAAABCo/X94S2qXt3t4/s1600/miller-house-and-garden-.-credit-indianapolis-museum-of-art-135--926471d8836bf2d5075db826e3f70492b3c1a3f3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-KWgYLwYeBaE/VCjEWVzjzoI/AAAAAAAABCo/X94S2qXt3t4/s1600/miller-house-and-garden-.-credit-indianapolis-museum-of-art-135--926471d8836bf2d5075db826e3f70492b3c1a3f3.jpg" height="452" style="cursor: move;" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Miller House and Garden. Interior designed by Alexander Girard in 1953. Girard's design included custom furniture, seasonally rotating textiles, chair cushions, and rugs.</td></tr>
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<a href="http://4.bp.blogspot.com/-IzsAvxQrVFg/VC8VJDsPn2I/AAAAAAAABG8/NCilCASxel0/s1600/girard%2Bimages.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-IzsAvxQrVFg/VC8VJDsPn2I/AAAAAAAABG8/NCilCASxel0/s1600/girard%2Bimages.jpg" height="197" width="400" /></a></div>
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An Italian-American born in New York, Girard spent his childhood in Florence. He studied architecture in London and Rome before moving back to New York City in 1932. Though formally trained in architecture, Girard is best known for his textiles, which incorporate rich colors and folk-art references.<br />
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<a href="http://1.bp.blogspot.com/-80ygijyCAhs/VC8VJGfRvhI/AAAAAAAABG4/C5rcO8GRiPs/s1600/barneys%2Bwindow%2Bimages.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-80ygijyCAhs/VC8VJGfRvhI/AAAAAAAABG4/C5rcO8GRiPs/s1600/barneys%2Bwindow%2Bimages.jpg" height="360" width="640" /></a></div>
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<tr><td class="tr-caption" style="text-align: center;">Alexander Girard at Herman Miller</td></tr>
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In 1937, Girard opened a second studio in Detroit. His involvement in the Detroit Institute for Art "For Modern Living" exhibition introduced him to Charles and Ray Eames's, who were exhibiting their molded plywood chair. With Charles Eames' influence, Girard became the founding director of the Herman Miller Textile Division in 1952. He served as its director until 1973, producing more than 300 vibrantly hued fabric and wallpaper designs in that time.<br />
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<span class="caption">Girard completed projects independent of Herman Miller. </span><span class="caption">In 1959, he was commission to design the interior for La Fonda del Sol restaurant in New York City's Time-Life Building. Girard called the design concept for the restaurant a "significant group," where design momentum is achieved because each individual piece is enhanced by its relation to the group.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Braniff International aircrafts featuring Alexander Girard's color design.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Braniff Airlines Aircraft Interior</td></tr>
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In 1963, Braniff Airlines selected Girard to redesign their entire visual persona. His design included seven final schemes for the plane exteriors and a new logo in the shape of a dove. Girard originally wanted each aircraft painted all one color with a tiny "BI", however the company's advertising department wanted a bigger logo and bigger type, so the design was modified. In the end, Girard initiated over 1700 design changes to plane interiors, logos, stationery, condiment packages, dishes, blankets and playing cards, among among numerous other aspects.<b style="font-family: Arial, Helvetica, sans-serif; font-size: small;"> </b><br />
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<tr><td class="tr-caption" style="text-align: center;">Ottomans by Girard for Braniff Airlines. Featured in the "Alexander Girard : An Uncommon Vision" Exhibit in New York May of 2014. Photo courtesy of Herman Miller.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">"Alexander Girard : An Uncommon Vision" showcases textiles, furniture and other objects that Girard designed as head of Herman Miller's textile division and for other private clients. Photo courtesy of Herman Miller. </td></tr>
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As Architectural colorists, we share Girard's vision of a world that uses color to articulate form and energize function. His approach to design was whimsical, and yet practical. He produced spaces that people wanted to be in, using bright colors and folk art reference to create comfortable and welcoming environments.</div>
Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com6tag:blogger.com,1999:blog-46399757549349155.post-11906926381065329852014-09-22T14:31:00.003-07:002014-09-22T14:31:40.039-07:00The Art of Seeing : Josef Albers and Relative ColorAt Colour Studio, our job as architectural colorists is to please the eye, but visual perception of any one color is one of the hardest variables to control. Josef Albers, German-born American artist and professor, taught that all color is relative. His work explores the variances in color relationships and how subtle shifts in those relationships can have drastic results.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Josef Albers "Homage to the Square"</i></td></tr>
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Albers stated that "... In visual perception a color is almost never seen as it really is — as it
physically is." His teachings are based on the idea that the world is controlled by vision, and that our eyes become accustomed to the world around us and begin to take certain things for granted. He believed our brains process only what it expected and not the entire reality of what is actually in front of us. Teaching first at the Bahaus, and later as head of Black Mountain College in North Carolina, Albers challenged his students to experiment with visual perception.<br />
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<tr><td class="tr-caption" style="text-align: center;"><em>A color has many faces, and one color can be made to appear as two
different colors. Here it is almost unbelievable that the left small and
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are the same color. And no normal human eye is able to see both squares
-- alike. - Maria Popova</em></td></tr>
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Albers's art work illustrates his ability to see beauty in the mundane. He worked with non-representational forms in an impersonal and detached style. Rooted in his theory on the art of seeing, his work is devoid of his own sentiment in order to challenge the viewer to form their own emotional reactions based on their perception of color and the subject matter.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Josef Albers "Variants" 1947</i></td></tr>
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His work is summed up in a treatise titled "Interaction of
Color" published in 1963. Written while teaching at Yale, the book investigates the
properties of color. An extension of his life long fascination with the deceptive nature of color, the treatise expands upon his teachings of visual perception as well as his own exploration of color relationship.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>"Homage to the Square" 1964</i></td></tr>
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<br /><br />For example, in his series of oil on paper paintings Homage to the Square, Albers experimented with the effects of perception, such as the apparent oscillation between the flat surface design and the illusion of movement and depth.<br /><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>"Homage to the Square" 1972</i></td></tr>
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Albers says of his work, "They all are of different palettes, and, therefore, so to speak, of different climates. Choice of the colors used, as well as their order, is aimed at an interaction - influencing and changing each other forth and back. Thus, character and feeling alter from painting to painting without any additional ‘hand writing’ or, so-called, texture." Forever trying to teach the mechanics of vision and show even the uninformed viewer how to see, Homage to the Square embodied a shift in emphasis from perception willed by the artist to reception engineered by the viewer.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>"SP-V" 1967</i></td></tr>
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Albers work demonstrates that subtle shifts in color relationships can alter our perception. Color interactions can elicit emotional responses that influence the way we perceive our environments. Everyone sees and perceives color differently, but with thoughtful color combinations one can create with the eye and brain in mind.<br />
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To celebrate the 50th anniversary of the first edition of Josef Albers' Interaction of Color, Brenda Danilowitz, Chief Curator for the Josef and Anni Albers Foundation, and Philip Tiongson have developed an iPad app that expands upon principles and experiments featured in the book. Follow the link below and tell us what you think!<br />
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<br />Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com8tag:blogger.com,1999:blog-46399757549349155.post-77913981663380228522014-09-03T13:06:00.001-07:002014-09-03T13:06:06.767-07:00Monticello : Historic Trends for a Modern WorldThis week at Colour Studio, we have been researching historic color palettes and thinking about what exactly makes a palette "historic". When we are asked to consider historic palettes, we are essentially looking at color trends from a past era. While some colors may be more popular than others at a given period of time, the fact is, trends are fleeting. What is trending this year will be inevitably be replaced by something new the next year. So what is it about these historic colors that continues to inspire us today?<br />
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<i><span style="font-size: x-small;">Thomas Jefferson's Dining Room at Monticello</span></i></div>
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<span style="font-size: x-small;"><i>West facade of the Palladian inspired plantation in Virginia</i></span></div>
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In historic preservation, recreating historic palettes means maintaining pieces of history, allowing us to experience monuments of our past as they were originally intended. Paint analysis research being conducted at Thomas Jefferson's famous home Monticello in Virginia has allowed color experts to recreate historic colors by providing scientific information about the chemicals and pigments used to make them. Until the mid-1880s, paint colors were custom mixed by hand, and so your
colors were only as good as the ingredients available to mix them.<br />
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<i><span style="font-size: x-small;">Dining Room interior with table setting designed by Charlotte Moss</span></i></div>
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<i><span style="font-size: x-small;">The Dome Room</span></i></div>
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Thomas Jefferson himself rejected the idea of trends, turning away from the somber Georgian blues, grays, and greens popular in America at the time in favor of more vibrant hues being developed in France. The dining room at his Monticello home, for instance, was painted a brilliant chrome yellow in 1815. The color was new at the time, mixed with lead chromate yellow pigments that had only just been discovered in France in 1810.<br />
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The original palette was designed while the plantation was under construction in the early part of the nineteenth century. It was an exciting time for color. Advancements in color pigments in Berlin were making new hues possible like Prussian Blue and Verdigris Green. Both colors have been identified in samples of the original palette used at Monticello. This historic palette is more than just a collection of colors, but a collection of new ideas stemming from cross continental travels, scientific discoveries of pigments and the cultivation of knowledge. Many of the rooms have now been restored to their original color thanks to a generous donation from Ralph Lauren.<br />
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<tr><td class="tr-caption" style="text-align: center;"><u><i>Tea Room</i></u></td></tr>
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<i><span style="font-size: x-small;">Monticello in Fall</span></i></div>
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Historic color palettes are more than just specific pairings of colors used on old buildings. Each palette represents a moment in time allowing us to channel the feel of generations past. This is why they continue to color our built environments today, so many generations later.<br />
<br />Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com7tag:blogger.com,1999:blog-46399757549349155.post-10226434714207719462014-07-16T10:15:00.001-07:002014-07-16T10:15:06.571-07:00Corbusier Color - The History of the Corbusier Paint<div class="MsoNormal">
At Colour Studio, we love a bold matte paint. And
yet, in the United States, it is nearly impossible to find. There is always a little bit
of sheen in the finish, which is especially visible in deep saturated hues. Shine on a wall surface bounces light back toward your eye, giving the surface a hard, impenetrable feel. Worse yet is when the deep hue takes on a synthetic or plastic like appearance. In contrast, a matte finish allows your eye to sink into the wall plane, giving colors a mysterious depth. <o:p></o:p></div>
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A few years ago, friends alerted us to a color book and fan deck from a
company that sold matte finish paint palettes by Le Corbusier. Yes, Le Corbusier. <o:p></o:p></div>
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Some fifty years after his death, Le Corbusier's achievements have firmly established him as one of the most influential figures, not only in
modern architecture, but in the art world as a whole. He wore many hats as a writer, painter, urban planner, designer and architect. His work with color is less discussed, perhaps because we remember
most of his modernism only through black and white photography. Many of his projects utilized white, natural wood or concrete against saturated bright colors to enhance form, volume and space.</div>
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He was commissioned by the Swiss manufacturer Salubra in
the 1930s to design two series of wallpapers. The first were released in 1932, where he invented
and revealed his color keyboard. His arrangement suggested how a designer should use the colors in combination.<br />
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<span style="text-align: start;">Only one company in the world has earned permission from the Le Corbusier Foundation to reproduce hues from the Salubra wallpapers. Situated in Switzerland, KT Color has 81 different pigments matched to Corbusier’s palette. Each paint is made of all natural, non-toxic ingredients, matching the recipe and technique of Corbusier himself, who ground his own minerals and pigments. Instead of using synthetic tints, KT Color still creates the palette using natural mineral pigments offering a matte finish product for painting that even in deep colors looks like velvet. </span></div>
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At between $2 and $5 per square foot, the colors aren’t the
most inexpensive option but are arguably the best. We thank the man for his color legacy and find the palette offered to be timeless. <o:p></o:p></div>
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<span style="font-weight: normal;">To read more about the paint deck
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<li><a href="http://www.ktcolor.ch/en/shop/le-corbusier's-81-pigment-colors.aspx">http://www.ktcolor.ch/en/shop/le-corbusier's-81-pigment-colors.aspx</a><o:p> </o:p></li>
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<li><o:p> </o:p><a href="http://tmagazine.blogs.nytimes.com/2010/09/28/his-true-colors/?_php=true&_type=blogs&_r=0">http://tmagazine.blogs.nytimes.com/2010/09/28/his-true-colors/?_php=true&_type=blogs&_r=0</a><o:p> </o:p></li>
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com4tag:blogger.com,1999:blog-46399757549349155.post-604535594498633862014-06-30T10:13:00.001-07:002014-07-14T17:43:57.677-07:00Crosscurrents of Color - Valentino and World Cup<span style="font-family: inherit;">Valentino just released a dazzling resort collection for 2015. It is being heralded for its vibrant use of color and folkloric </span>sensibility<span style="font-family: inherit;">. His mixture of patterns, geometry and accent hues are truly spectacular. </span><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-yttdJazE9Uc/U6xkII72p3I/AAAAAAAAA6M/r-QnpsEvsto/s1600/Red_Collar.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-yttdJazE9Uc/U6xkII72p3I/AAAAAAAAA6M/r-QnpsEvsto/s1600/Red_Collar.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Valentino Resort 2015</td></tr>
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<span style="font-family: inherit;">At this same point in time, World Cup fever spread globally and we began to notice the attention to style, color and detail being paid to the uniforms on the soccer pitch. </span><br />
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Fashion has historically been a barometer to interpret mood and mark events in a particular time. The disciplines of art, architecture and design follow this same pattern. Careful observation can reveal cross currents of thought and borrowed ideas from one discipline to another.</div>
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<span style="font-family: inherit;">Here are some favorite comparisons from different contexts: World Cup athletics and Valentino couture.</span></div>
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<span style="font-family: inherit; font-size: small;">1. Red and Black Stripes</span></h2>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-pFvKRBOJjio/U6mpFU7eBPI/AAAAAAAAA5I/Fx4KFQQDLpE/s1600/Stripe_World_Cup.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-pFvKRBOJjio/U6mpFU7eBPI/AAAAAAAAA5I/Fx4KFQQDLpE/s1600/Stripe_World_Cup.jpg" height="400" width="156" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">German uniform with red and black stripes. </td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-5aQlCyBfupY/U6mpFdY9N4I/AAAAAAAAA5M/hNewAx6NP3M/s1600/Red_Black_Stripe_Valentino.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-5aQlCyBfupY/U6mpFdY9N4I/AAAAAAAAA5M/hNewAx6NP3M/s1600/Red_Black_Stripe_Valentino.jpg" height="400" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Valentino Resort with a black underpinning <br />
and red lace stripes.</td></tr>
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<span style="font-family: inherit;"><b>2. The Accent Color </b></span></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-wO07jUPlgRw/U6mlbh9m8iI/AAAAAAAAA4c/lRr4ncA7m28/s1600/Russia_World_Cup.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-wO07jUPlgRw/U6mlbh9m8iI/AAAAAAAAA4c/lRr4ncA7m28/s1600/Russia_World_Cup.jpg" height="400" width="153" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Russia, World Cup 2014 - <span style="font-size: x-small;">b</span><span style="font-size: x-small; text-align: start;">locked <br />white with red and blue stripes</span></td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Jzh5Ppw5Ga4/U6mk5nbFqwI/AAAAAAAAA4U/V8HgkdDC4os/s1600/Red_Blue_Valentino.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-Jzh5Ppw5Ga4/U6mk5nbFqwI/AAAAAAAAA4U/V8HgkdDC4os/s1600/Red_Blue_Valentino.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small; text-align: start;">Valentino Resort, blocked</span><span style="font-size: x-small; text-align: start;"> green <br />with blue and orange sash stripes.</span></td></tr>
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<span style="font-family: inherit; font-size: small;">3. The Patterned Collar</span></h2>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-BXLM7E8YyP8/U6mmD32iBaI/AAAAAAAAA4k/odlpSQoen_Q/s1600/Accent_Collar_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-BXLM7E8YyP8/U6mmD32iBaI/AAAAAAAAA4k/odlpSQoen_Q/s1600/Accent_Collar_2.jpg" height="320" width="252" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ghana, in a white jersey punctuated at the collar with <br />
black, green, yellow and red accents.</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-jOG4uvek-OU/U6mmO-i8HBI/AAAAAAAAA40/YNsOexIt7cM/s1600/Valentino_Accent_Collar.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-jOG4uvek-OU/U6mmO-i8HBI/AAAAAAAAA40/YNsOexIt7cM/s1600/Valentino_Accent_Collar.jpeg" height="320" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Valentino, a black dress with multi colored flowers<br />
framing the neck and bodice.</td></tr>
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<tr><td style="text-align: center;"><a href="http://www.uksoccershop.com/images/42182.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.uksoccershop.com/images/42182.jpg" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ghana, detailing of collar pattern.</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Bed5NQF81KU/U6moj4UzWAI/AAAAAAAAA5A/a_7yHOpG_eA/s1600/Valentino_Collar_Detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-Bed5NQF81KU/U6moj4UzWAI/AAAAAAAAA5A/a_7yHOpG_eA/s1600/Valentino_Collar_Detail.jpg" height="320" width="234" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Valentino, collar detailing</td></tr>
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<span style="font-family: inherit; font-size: small;">4. Color Blocking</span></h3>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-MTFxVyGrQRw/U6mqLGjYkZI/AAAAAAAAA5g/MfVHYYqUPq4/s1600/World_Cup_Stripe.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-MTFxVyGrQRw/U6mqLGjYkZI/AAAAAAAAA5g/MfVHYYqUPq4/s1600/World_Cup_Stripe.png" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">US, blue white and red jersey with stripes brought to sleeves.</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-VDe3C3jIg2o/U6mqLKItdpI/AAAAAAAAA5c/aV9ivK8nvQI/s1600/Valentino_Stripes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-VDe3C3jIg2o/U6mqLKItdpI/AAAAAAAAA5c/aV9ivK8nvQI/s1600/Valentino_Stripes.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Valentino, white bodice, yellow skirt and red violet color blocking brought to the sleeves</td></tr>
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<span style="font-family: inherit;"><span style="font-size: x-small;"><br /></span></span><span style="font-family: inherit;">What do these similarities mean? They are a testimony to the fluidity and transcendent nature of creativity across different artistic disciplines.</span><br />
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<span style="font-family: inherit;">There is an idea of global community and the realization that what affects us and inspires us, inspires many. And possibly a few of these jersey designers subscribe to Vogue magazine.</span><br />
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com4tag:blogger.com,1999:blog-46399757549349155.post-44891131520034425042014-05-21T10:13:00.004-07:002014-05-21T10:13:48.179-07:00Color Matters<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-grljBlfuUzo/U3ZLvqB4tNI/AAAAAAAAA2o/bimIkUbSvaU/s1600/pigments+DSC_0028.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-grljBlfuUzo/U3ZLvqB4tNI/AAAAAAAAA2o/bimIkUbSvaU/s1600/pigments+DSC_0028.jpg" height="424" width="640" /></a></div>
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Photo Credit : Jerry Levy </div>
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<span style="font-family: Times, Times New Roman, serif;">This week, the Colour Studio will be operating on auto-pilot. Jill has taken color on the road and is giving a presentation at the first annual D+D Summer Conference in Cincinnati. In her lecture, Color Matters, she will highlight the importance of color in architecture and break down the nuances of how color affects the way we experience space. We have summarized the key points of her lecture, so even if you cannot make it to the conference, you can benefit from her knowledge on the subject. We will also take advantage of the subject to showcase some of our work.</span><br />
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<b><u><span style="font-family: Times, Times New Roman, serif;">Color Matters</span></u></b><br />
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<span style="font-family: Times, Times New Roman, serif;">In the built environment, color matters. Applied strategically, color can add value for every market segment, for both new and existing buildings, whether on the exterior or interior.</span><br />
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Project: Avalon Ocean Avenue</div>
<div class="separator" style="clear: both; text-align: center;">
Architect: Pyatok Architects</div>
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Photo Credit: Cesar Rubio</div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Owners need brisk sales, quick rentals, and efficient
approvals. What compels people to rent or buy, besides the costs involved, is
often subliminal. Whether strong or subtle, good color needs to add value to
the experience. <o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-tJerhPsQn7o/U3ZOJ4r0y3I/AAAAAAAAA28/ja54w8Z3hj8/s1600/Colour-Studio_Park-Lane-at-Irvington-Village.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-tJerhPsQn7o/U3ZOJ4r0y3I/AAAAAAAAA28/ja54w8Z3hj8/s1600/Colour-Studio_Park-Lane-at-Irvington-Village.jpg" height="424" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
Developer: Regis Homes</div>
<div class="separator" style="clear: both; text-align: center;">
Project: Irvington Villages</div>
<div class="separator" style="clear: both; text-align: center;">
Photo Credit: Patrik Argast</div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Color can be chosen to appeal to a specific user
demographic, to look appropriate in a geographic location, to articulate
architectural form, and to enhance productivity. Smart selection and placement
of color can direct the movement of the eye through an environment as well as
signal paths of travel.</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-fareast-language:JA;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--></div>
<div class="MsoNormal">
<!--[if gte mso 9]><xml>
<o:DocumentProperties>
<o:Revision>0</o:Revision>
<o:TotalTime>0</o:TotalTime>
<o:Pages>1</o:Pages>
<o:Words>48</o:Words>
<o:Characters>277</o:Characters>
<o:Company>Colour Studio</o:Company>
<o:Lines>2</o:Lines>
<o:Paragraphs>1</o:Paragraphs>
<o:CharactersWithSpaces>324</o:CharactersWithSpaces>
<o:Version>14.0</o:Version>
</o:DocumentProperties>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
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<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
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mso-para-margin-left:0in;
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mso-hansi-font-family:Cambria;
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mso-fareast-language:JA;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Color is
powerful because it impacts us on so many different levels, eliciting responses
both learned and automatic. A person cannot be exposed to color and remain
neutral—it affects body, mind and spirit. By acknowledging the complexity of
responses we can choose color to enhance<span style="mso-spacerun: yes;">
</span>peoples experience of their environment.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-V5dfVlqftno/U3ZV3upS77I/AAAAAAAAA3s/Y2aEGA-J3Fw/s1600/Tree-Diagram.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-V5dfVlqftno/U3ZV3upS77I/AAAAAAAAA3s/Y2aEGA-J3Fw/s1600/Tree-Diagram.jpg" height="466" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Times New Roman;"><br /></span>
<span style="font-family: Times New Roman;"><br /></span>
<span style="font-family: Times New Roman;">Here are some Colour Studio case studies to illustrate Jill's arguments.</span></div>
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<span style="font-family: 'Times New Roman';"><b><u><br /></u></b></span></div>
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<span style="font-family: 'Times New Roman';"><b><u>Color to Sell: 795 Folsom Street</u></b></span></div>
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<span style="font-family: 'Times New Roman';">Architect : Wilson Meany & Cornerstone Real EstateAdvisers LLC</span></div>
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<span style="font-family: 'Times New Roman';">Location : San Francisco, CA</span></div>
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<span style="font-family: 'Times New Roman';">Photo Credit : ColourStudio with Vale Bruck</span></div>
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<span style="font-family: 'Times New Roman';"><br /></span></div>
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<span style="font-family: "Times New Roman";">Cornerstone Real
Estate Advisers LLC, one of the world’s largest real estate investment managers,
came to us with an existing asset in San Francisco that they were interested in
putting on the market.</span><o:p></o:p></div>
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Before</div>
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<span style="font-family: "Times New Roman";">This bland, all-beige
building faded into the streetscape. Cornerstone invested in public space renovations
and asked Colour Studio to develop an exterior painting scheme. The solution
placed four modern accent colors in a random pattern on the façades to create a
dynamic street elevation that would appeal to potential technology clients. </span></div>
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After</div>
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<span style="font-family: "Times New Roman";">Now
fully occupied, the building sold for a roughly $30 million dollar profit. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';"><b><u>Color to Reposition: PCT 100, 200, and 222 N. Sepulveda Blvd.</u></b></span></div>
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<span style="font-family: 'Times New Roman';">Architect : STUDIOS Architecture</span></div>
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<span style="font-family: 'Times New Roman';">Location : El Segundo, CA</span></div>
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<span style="font-family: 'Times New Roman';">Photo Credit : Michael O'Callahan</span></div>
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<span style="font-family: "Times New Roman";">Colour Studio teamed with
STUDIOS architecture to create a program for CBRE and the building owners to
reposition this Class A corporate office campus consisting of three 20-story
towers in El Segundo, California. Originally, a single tenant occupied the
buildings. Over time, the tenant base diversified.</span></div>
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Before</div>
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<br /></div>
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<span style="font-family: "Times New Roman";">Our goal was to rebrand the
property to attract high-tech tenants. The building’s skin includes Kynar
aluminum panels and three different colors of glazing. We used a palette of
warm blues, ranging from light to dark, to give the building a dynamic profile
against the sky. The clients have experienced a dramatic increase in occupancy.<o:p></o:p></span></div>
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<a href="http://2.bp.blogspot.com/-n144GxDe7E8/U3ZO9F2gETI/AAAAAAAAA3c/1GTkfdQ5NYM/s1600/Quilt_NORTH_6-Pan+6-color.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-n144GxDe7E8/U3ZO9F2gETI/AAAAAAAAA3c/1GTkfdQ5NYM/s1600/Quilt_NORTH_6-Pan+6-color.jpg" height="446" width="640" /></a></div>
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After</div>
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<span style="font-family: 'Times New Roman';"><b><u>Color for Learning: De Anza High School</u></b></span></div>
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<span style="font-family: 'Times New Roman';">Architect : DLM Architects</span></div>
<div class="MsoNormal">
<span style="font-family: 'Times New Roman';">Location : El Sobrante, CA</span></div>
<div class="MsoNormal">
<span style="font-family: 'Times New Roman';">Photo Credit : Timothy Maloney</span></div>
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<span style="font-family: "Times New Roman";">Built in 1955, the
original DeAnza High School in El Sobrante, California, was long considered
inadequate and had a reputation as a troubled school. Test scores, enrollment, and
school spirits had all sunk. <o:p></o:p></span><span style="font-family: 'Times New Roman';">In 2010, the
school district broke ground on a new high school designed by DLM Architects. </span></div>
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<span style="font-family: 'Times New Roman';">Color science and color psychology play a vital role in how a school functions. Active spaces need active colors, while classrooms and auditoriums need colors that help students focus and pay attention.</span></div>
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<span style="font-family: "Times New Roman";">Enrollment grew
from about 800 in 2010, when construction began, to nearly 1,200 students by
the new facility’s opening in 2013. Grades have gone up, and the <i style="mso-bidi-font-style: normal;">West County Times </i>quoted student body president
Iris Wong as saying that after two weeks in the new school, her classmates’ attitudes
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<span style="font-family: 'Times New Roman';">Determining what
colors to select for successful environments is a process. Color can be a volatile topic—it’s hard enough to pick a winner even when we’re
choosing a color of paint for our own home.</span><br />
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<span style="font-family: "Times New Roman";">The process is
worth it, however. Creating a unique built environment with color can enhance
user experience, streamline city approvals, help brand or rebrand a property,
speed up rentals and sales, create a sense of place, and deliver a memorable
product. Color matters, and it provides clients with a positive return on
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Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com1tag:blogger.com,1999:blog-46399757549349155.post-19312833300864013852014-05-09T16:32:00.002-07:002014-05-09T16:32:43.431-07:00We Like COLORBeing architectural colorists, architecture and color are two words we think go hand in hand. Whether it is bright accents that create spatial definition or neutral shades that lend the illusion of larger spaces, color is more than just an aesthetic device. When used correctly, it can be a highly effective architectural tool with the ability to transform space and create dynamic environments.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="//player.vimeo.com/video/39206307" webkitallowfullscreen="" width="500"></iframe> <a href="http://vimeo.com/39206307">I LIKE promo video</a> from <a href="http://vimeo.com/canal180">Canal180</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
Color is a lens through which the spatial experience of a place is a malleable thing. LIKEarchitects, a Portuguese based atelier, has teamed with Canal180, the world's first open-sourced TV channel to bring you the series I Like Color, which explores exactly this relationship. Each of the series' 11 episodes features architectural projects and installations from around the world that use color in combination with spatial interventions to shape, engage, and transport users into a world of the architect's making.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="//player.vimeo.com/video/76614412" webkitallowfullscreen="" width="500"></iframe> <a href="http://vimeo.com/76614412">I LIKE Green</a> from <a href="http://vimeo.com/canal180">Canal180</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
In episodes curated by Diogo Aguiar and Teresa Otto, featured projects illustrate how color can be used to define and program spaces.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="//player.vimeo.com/video/75879507" webkitallowfullscreen="" width="500"></iframe> <a href="http://vimeo.com/75879507">I LIKE Black</a> from <a href="http://vimeo.com/canal180">Canal180</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
Color comes alive as it interacts with site-specific conditions, such as light and shadow. Simple spaces become dynamic 3-dimensional environments where color is the atmospheric driver.<br />
<br />
Check out all 11 episodes by clicking the link below and tell us which is your favorite color!<br />
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<a href="http://vimeo.com/channels/ilikecolour/39206307">http://vimeo.com/channels/ilikecolour/39206307</a>Colour Studio Inc.http://www.blogger.com/profile/14345023115187844818noreply@blogger.com0tag:blogger.com,1999:blog-46399757549349155.post-16865698728479402012014-03-23T11:30:00.007-07:002014-03-23T11:30:55.787-07:00Colors are Heating up with Alexander Wang<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-8FMZUAqWF6I/Uyxol9irJqI/AAAAAAAADk0/_F1wj6dcJlw/s1600/Alexander-Wang-Balenciaga_784x0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-8FMZUAqWF6I/Uyxol9irJqI/AAAAAAAADk0/_F1wj6dcJlw/s1600/Alexander-Wang-Balenciaga_784x0.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alexander Wang, Via <a href="http://images.vogue.it/Storage/Assets/Crops/47744/10/46396/Alexander-Wang-Balenciaga_784x0.jpg">Vogue</a></td></tr>
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<span style="color: #333333; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14px; line-height: 15.600000381469727px;">Last week we introduced you to a designer, Le Mindu, who is using some really unique colors to shake up the runway but Le Mindu</span></span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;"> isn't the only one pushing the edges of fashions with usual materials. </span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">Alexander Wang recently set his models down the cat walk in heat reactive clothing's that changed hue as the </span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">temperatures</span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;"> of </span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">models body and the air surrounding them rose and fell. The cool faces and stern walks of cat walk models we see in all those runway pictures belie the hot lights, tight quarters, and frantic behind the scenes efforts that keep a fashion show running smoothly. His pieces, many with intricately cut textural patterns, glow with shifting color, reveal more about the environment of the catwalk show than the simple veneer of theatrics. </span><br />
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<a href="http://4.bp.blogspot.com/-tQ_zPTvM3ic/Uxzdaz2rEmI/AAAAAAAADkE/8e_Ywo-iapE/s1600/00390h_426x639.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-tQ_zPTvM3ic/Uxzdaz2rEmI/AAAAAAAADkE/8e_Ywo-iapE/s1600/00390h_426x639.jpg" height="640" width="426" /></a></div>
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<span style="color: #333333; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14px; line-height: 15.600000381469727px;">Wang's recent show, which was themed around the idea of “extreme conditions and survival," used the high tech fabrics as well as reference to outdoor wear with a mix of urban utilitarianism. But the colors themselves also have a utilitarian aspect to them. Much like the color change of poisonous animals in the wild, Wangs color could be seen as broadcasting information about the wearer to onlookers. In an age full of over sharing and selfies and a general sense of always being in the public eye the colors embrace the visibility in a whole new way. </span></span><br />
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<a href="http://4.bp.blogspot.com/-UTXdPRPUu6g/Uxzda2HfK2I/AAAAAAAADkI/XAggcVaeMRA/s1600/alexander-wang-new-york-fashion-week-fall-winter-2014-5-537x402.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-UTXdPRPUu6g/Uxzda2HfK2I/AAAAAAAADkI/XAggcVaeMRA/s1600/alexander-wang-new-york-fashion-week-fall-winter-2014-5-537x402.jpg" height="478" width="640" /></a></div>
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<span style="color: #333333; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14px; line-height: 15.600000381469727px;">Because Thermochromic clothing is not just peaking its head out on the runway anymore. Sports clothing is also embracing these heat changing colors to give athletes a whole new visual experience of their workouts. </span></span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14px; line-height: 15.600000381469727px;">Radiate Athletics has created an application which lets the wearer watch the colors of their shirt change as they work out. Starting with a white shirt, heat sensitive colors intensify with peak muscle performance. So you get instant feedback as to just how hard</span></span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;"> your body is working. The shirts even show you where and which muscles are you working with each exercise! </span><br />
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<a href="http://1.bp.blogspot.com/-SSHhHYIvvK4/Uy8oDy0-C1I/AAAAAAAADlc/h3H93a5ETcw/s1600/hoodie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-SSHhHYIvvK4/Uy8oDy0-C1I/AAAAAAAADlc/h3H93a5ETcw/s1600/hoodie.jpg" height="426" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-fkNc2_W_FQI/UyxryERy87I/AAAAAAAADlM/TSmGOGZyVHQ/s1600/shirt.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-fkNc2_W_FQI/UyxryERy87I/AAAAAAAADlM/TSmGOGZyVHQ/s1600/shirt.png" height="386" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Images from Radiate's <a href="https://www.kickstarter.com/projects/radiate/radiate-athletics-the-future-of-sports-apparel">KickStarter Page</a></td></tr>
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<span style="color: #333333; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14px; line-height: 15.600000381469727px;">These clothes, on the runway or just on a run, allow us to speak about our world and our bodies using color. They reveal things to ourselves and others that would otherwise have been invisible. Color can be powerful. Would you be comfortable displaying this kind of information to everyone you passed?</span></span>Emily Eiflerhttp://www.blogger.com/profile/00560342976365339649noreply@blogger.com0tag:blogger.com,1999:blog-46399757549349155.post-76972542867970407042014-03-13T19:36:00.000-07:002014-03-13T19:36:12.771-07:00Haute Couture Color <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-8YHFVQVoaLY/UwuJlXt3-sI/AAAAAAAADh4/XQ866TD013g/s1600/Charlie-Le-Mindu-Haute-Couture-Spring-Summer-2014-9080-2-600x900.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-8YHFVQVoaLY/UwuJlXt3-sI/AAAAAAAADh4/XQ866TD013g/s1600/Charlie-Le-Mindu-Haute-Couture-Spring-Summer-2014-9080-2-600x900.jpg" height="640" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; line-height: 15.600000381469727px; text-align: start;"><span style="font-size: xx-small;">Photos Credits Valério Mezzanotti</span></span></td></tr>
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<span style="color: #333333; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><span style="font-size: 14px; line-height: 15.600000381469727px;">Originally</span></span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px; text-align: justify;"> a hair stylist, </span><span style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px; text-align: justify;"> </span><span style="background-color: white; text-align: justify;"><span style="color: #333333; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14px; line-height: 15.600000381469727px;">Charlie Le Mindu, has forged a career in fashion out of ever shocking, weird, and over the top design. The </span></span></span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px; text-align: justify;">26-year-old, </span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px; text-align: justify;"> </span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px; text-align: justify;">Bordeaux-born, London-based designer </span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">pairs unusual materials, flamboyant colors, and prolific wigs with a studied knowledge and faith based in the lessons of fashion past. </span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px; text-align: justify;"> He says "In this day and age, maybe because of grunge and all that, people think it's sexy to look like a mess. And it is. But sometimes we need to look to the past. Not copy it, but just take it as an example."</span><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-TAMfZ7mWpfg/UwuJkk895XI/AAAAAAAADhs/jXrTuKbuWTY/s1600/Charlie-Le-Mindu-Haute-Couture-Spring-Summer-2014-9005-600x900.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-TAMfZ7mWpfg/UwuJkk895XI/AAAAAAAADhs/jXrTuKbuWTY/s1600/Charlie-Le-Mindu-Haute-Couture-Spring-Summer-2014-9005-600x900.jpg" height="640" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: xx-small; line-height: 15.600000381469727px; text-align: start;">Photos Credits Valério Mezzanotti</span></td></tr>
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<span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">In collaboration with latex design house T</span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">rès Bonjour, </span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;"> Le Mindu splashed onto a black lit runway at this years </span><span style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">Paris Fashion Week. His </span><span style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">Spring/Summer 2014 collection was titled L</span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14px; line-height: 15.600000381469727px;">uminescent. Using synthetic hair that glows florescent under black light his show lit up the runway with a rave of colors rarely seen in every day life. The collection is something of mermaid punk mash up with jellyfish-like tentacles and gravity defying shapes that float down the run way. </span></span></div>
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<span style="color: #333333; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14px; line-height: 15.600000381469727px;">Le Mindu grew up the child of a Spanish Gypsy and a French Drag King in the wilds backstage as his mother performed at gay night clubs in France. After an introduction to hair dressing in the French country side, Le Mindu moved to Berlin at age 17 where he was soon cutting hair in a different Drag club every night and developing his signature wigs. From there he moved to East London and continued to style hair while developing</span></span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;"> his own cheveux-centric fashion line in 2009. </span><br />
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<span style="color: #333333; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14px; line-height: 15.600000381469727px;">His catwalk shows, far from being presentational, liberate fashions inner monsters and lets them prowl down the run way in livid abandon. </span></span><span style="background-color: white; text-align: justify;"><span style="color: #333333; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14px; line-height: 15.600000381469727px;">Haute Couture, much like Fine Art, is often criticized or glanced over by others for being useless, self indulgent, or posh. But even if they are all those things they are also inspiring, exploratory and experimental. </span></span></span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">His color choices are too extreme for many, and few but Lady Gaga would wear his work out on the street, but just because his work is wild and pleasantly deviant doesn't mean all the lessons learned from pieces need be applied whole hock. The experimentation, especially to these extremes, can help us find solutions to design problems</span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;"> faced in other fields</span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">. </span><br />
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<span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">Exposure to design outside our comfortable zone of useful and everyday also exposes us to materials and colors we might not have considered before. The colors are both highly visible and full of energy. So what application can you think up </span><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 15.600000381469727px;">for one of these unusual materials in other areas? How could these colors influence one of your projects? Lets us know below!</span><br />
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Emily Eiflerhttp://www.blogger.com/profile/00560342976365339649noreply@blogger.com1