Wednesday, April 19, 2017

Fashionable Developments

Fashion, Technology & Women’s Rights – Ready To Roar? 

Fashion, technology & women’s rights are intertwined today– just like they were in the 1920s. Trends in wardrobe, hair, and makeup are a visual sign of the times that speak to women’s current roles and values plus technological advances throughout the decades.  A few historically significant trends come to mind:
Click for more flapper fashion at the Mob Museum
1920s:  Flapper dresses that embraced physical freedom through functionality and accessibility
1960s: The mini skirt (named after British designer Mary Quaint’s favorite car The Mini) debuted in 1940s pulp and science fiction and became streetwear for “Ya-Ya Girls” in the ’60s. It eventually became a symbol of female power to be feared by men who might succumb to its seductive nature.
1980sPower suits and shoulder pads told corporate powers that women can compete with men in any workplace role. While suiting was popularized by Hollywood starlets as early as the 1940s, this decade’s suits were devoid of curves– mimicking a masculine projection of competence and confidence. Think of the movie Working Girl.
Major changes in women’s roles, rights and values are reflected in fashion and are many times considered to be rebellious or associated with immoral behavior (like the mini skirt).  One example is the notion that flapper fashion was directly tied to mobsters, speakeasies, and booze. Evan Casey, who is the Public History Graduate Assistant at University of Nevada, Las Vegas says otherwise. She’s the student curator for Ready To Roar, a Prohibition Era fashion exhibit showing at the Mob Museum in Las Vegas through February 2017.
“Dispelling this myth is one of the primary themes of Ready to Roar. In retrospect, it is easy to imagine the Flapper springing from the booze poured into the gutter in January of 1920, but the historical record shows she was a long time coming. Many hallmarks of the ‘flapper’ silhouette predate the 1920s. Beginning at the turn of the Twentieth Century, American culture saw an increase in the importance of health. The sports and youth culture that developed from this shift dramatically changed society, as well as the way women dressed. The S-shape corset was discarded, and changes in hemlines and tailoring increased range of motion as the Twentieth Century matured. By the time speakeasies became the social hotspot, women’s attire had accommodated their ability, and desire, to kick up their heels.”
Compacts for a girl on the go! Click to see more at the Mob Museum
And just like today, young women didn’t want to look (or act) like their mothers. “The chaperone died at the hands of dating as interactions between the sexes changed during Prohibition. Automobiles carried young adults away from parental eyes to socials, petting parties, sporting events, and theaters, while Hollywood productions portrayed, and simultaneously manufactured, this modern courting culture,” Casey explains.
Technology enabled fashion to become more accessible to women outside the upper class. According to Casey, manufacturing finally matured (it lagged behind men’s fashion) and built the needed relationships with retailers for broad accessibility.  Shopping became a “hobby.”
Cold Cream companies were marketing gurus
How about those cosmetic compacts that fit neatly into your purse? It all came down to modern marketing. “Central to 1920s beauty culture was the idea of the ‘ritual,’ a concept that cold cream companies actively promoted. During Prohibition, the visible use of cosmetics became a point of demarcation between the old guard and the new,” says Casey.
How do technology, socio-economic and political tides influence fashion? According to Casey, the more things change the more they stay the same. “Despite the extremely varied result, the influences are pretty much the same. Clothing is a mechanism by which the social order is experienced, communicated and reproduced. The passing of the 19th Amendment did not inspire women to suddenly shorten their skirts any more than the Free Speech Movement of the 1960s made everyone grow long hair. What we wear and how we look is a lived experience that happens in real time. It is proactive, not reactive, and will always be shaped such factors.”
The objects in Ready to Roar came from a combination of nearby institutions and private lenders. Lending institutions include the Nevada State Museum, the Clark County Museum, Death Valley National Park, and Spring Mountain Ranch. Most of the private lenders are local, including several who are part of the UN LV community. The exhibit continues through the month of February, 2017.
Thea Wood
Signature Stylist
SheSpark Co-publisher

Wednesday, April 12, 2017

Top Jelly Bean Color

Is it the flavor or the color that makes "the red ones" in the jelly bean bowl the favorites?

What flavor is the red jelly bean?
The Strawberry Jam Jelly Belly has super-concentrated strawberry flavor, and it has dark purple speckles to identify it. 
Sour cherry is opaque red; 
 Very Cherry is a bit bluer than its sour cousin and is the more recognizably cherry-flavored bean.
According to the April 2017 issue of Real Simple magazine, an article written by Brandi Broxson makes the following claims:
"Very Cherry has been the top jelly bean flavor for the manufacturer Jelly Belly since way back when...Have you ever wondered why? What is it abut red candies that makes them universally alluring?
Charles Spence, a psychology professor at the University of Oxford who studies how our brains process taste, says it may be back to our foraging ancestors. 'Fruits turn from unripe, green shades to red hues when they sweeten.'
And still today we make this red-equals-sweeter connection. In fact, studies show that just coloring a food red make it "taste" about 10 percent sweeter."

Monday, April 10, 2017

The Colorful History of Peeps

I found the following article fun and hope you will too. Happy Easter 2017-BBL

The Black Peep Scandal: An Easter Candy Mystery

The Black Sheep Peep Scandal of 1912.
The Black Sheep Peep Scandal of 1912. (
Fruitcake at Christmas, hot dogs on July Fourth, beer for St. Patrick’s, turkey on Thanksgiving. And, the quintessential American food favorite for Easter?
Hanging with their Peeps.
Hanging with their Peeps.
Surpassing the hard-boiled matter once those decorated eggs are cracked, not to mention asparagus, jellybeans, lamb or ham, and selling at an annual rate of over 5 million is the beloved, almighty and ubiquitous colored-sugar marshmallow Peep.
Peeps and Pop Art: Perfect Marriage.
Peeps and Pop Art: Perfect Marriage.
Peeps have found purpose in the wide Pop Culture beyond its sweet taste and grainy-smooth mouth feel. For a few years in the late 1990s there was a kooky college kid craze of Spring Breakers popping Peeps in microwaves. Annual art contests are now conducted using Peeps.
Peeps are used in Ambrosia Salad recipes. They serve as a non-sticky version of the key ingredient to S’Mores. They’re used as topping for dessert pizzas. They’ve been arranged onto long wires to substitute as bouquets of spring flowers.
Peeps Warhol Marilyn Monroe.
Peeps Warhol Marilyn.
There were experiments conducted to see how long it would take before a box of opened Peeps would completely harden into a brick – many of which failed due to weakened resistance of those who let their need for a sugar rush get the best of them.
They’re used on wedding cakes and as a medium for sarcastic, allegorical tableaux. Any lingering doubt about the Pop Power of Peeps is, in fact, laid to rest this Easter season by the release (in 2013) of an official portrait of the Lord Mayor of Lost Angeles, master of mid-century modernism himself Charles Phoenix, who posed with his visionary manifestation Astro Easter Tree, populated by a plentiful potpourri of Peeps on an aluminum-wrapped styrofoam trunk.
This year, Peeps were pronounced part of Pop Culture officialdom by Lost Angeles Lord Mayor Charles Phoenix.
 Peeps were pronounced part of Pop Culture officialdom by Lost Angeles Lord Mayor Charles Phoenix.
All this Easterly irreverence is just fine by the company that makes them.
Old-school Peeps had wings.
Old-school Peeps had wings.
In fact, ever since 1995, it’s been the manufacturer of Peeps itself, the Just Born Company of Bethlehem, Pennsylvania, which has been pushing the mushy old birds into the future, literally clipping off their former back wings and giving them full flight into the mouths and imaginations of Americans.
That was the year Peeps began rising to reach critical mass, the very first season when purple Peeps were introduced to the old-school line of pink, yellow and white ones.
21st Century Peeps of colors across a wide palette.
21st Century Peeps of colors across a wide palette.
Three years later, the company conducted a deft public relations contest, asking Peep-peoples around the globe to vote on the next color they wanted to eat: in 1998, the blue Peeps joined the pack.
Nostalgic Peepers fondly recall the simpler, earlier incarnations, and often point out that for many a long decade one could engorge at even the Winter Holiday Season upon what was technically Peeps-material, the yellow chick transmorgraphied into Santa Claus form.
Still, in an age when any kid can watch a Charlie Brown Christmas on any day of the year at any hour on an Android phone, another small chink in the overall destruction of disciplines such as patience and anticipation, that same sense of wait-for-it-once-a-year is now being practically upheld in the mass culture by Easter Peeps alone. Who cares if you can get a marshmallow Santa a full four months before Easter or how it tastes exactly the same – a Santa is not a Peep. Those neon candy baby fowl can only begin lo brighten the aisles at Drug Fair once the chocolate mint shamrocks are in the half-price bin but before the striped summer umbrellas appear. Peeps come but once a year.
All types of Peep innovations continued on into the new century, including the appearance of them also in green and orange and flavored in strawberry, vanilla, chocolate, and mint. The 21st century Peep, however, is basically the same: what has changed its how pervasive the Peep image has become.  In just the last year, for example, the first of three Peeps Stores have opened in Minnesota, Pennsylvania and Maryland.
Peeps-mobile parked outside the first Peeps Store.
Peeps-mobile parked outside the first Peeps Store.
The Pope-mobile seems to have nothing over the new Peep-Mobile.
And for those inclined to dress like it was Halloween at Easter, there’s even now an official Peeps costume.
The result is that over 1 billion Peeps are freshly-born annually.
Peeper and friend in Peeps costume.
Peeper and friend in Peeps costume.
The considerable effort to make us a Peeps Nation has been brilliantly shepherded by Ross Born, grandson of the original owner of the candy company.
The pinnacle of Peeps public relations came a decade ago when the company marked its 50th Anniversary in 2003.
In reaching the half-century benchmark, Peeps became to chirp a bit louder about its longevity, and the effort began to organize and disseminate the story of just how we came to love the sweet little things for public consumption.

Wednesday, April 5, 2017

Words, Culture and Color Views

Pharmakon: Ancient Greek word meaning drug, poison, cure, remedy, medicine, charm, spell, recipe, artificial color, and paint.
Words can be strange things. They have hidden histories that, once uncovered, take us to unexpected places. The ancient Greek word for color, pharmakon, is one such word, leading us to drugs, poison, wizards, and ritual human sacrifice.
For contemporary readers, associating color with drugs, spells, magic, and medicine might not come to us as quickly as maybe it did to the ancient Greeks. It is there, however, hidden in our word for a drug dispensary, our pharmacy.

In a 2016 project called "Color the Temple," the Metropolitan Museum of Art used projection-mapping technology to simulate the vividly colored paint that covered the walls of the Temple of Dendur in ancient Egypt.
In a 2016 project called “Color the Temple,” the Metropolitan Museum of Art used projection-mapping technology to simulate the vividly colored paint that covered the walls of the Temple of Dendur in ancient Egypt.

The Greeks loved color. Their temples and statues were painted in bold and garish color, but all of it has since washed away and faded with time, leaving us with the white marble underneath. We can appreciate the Elgin Marbles in the British Museum today and endlessly debate about whether they should be returned to Greece. Less controversial is whether or not the ancient sculptures, scrubbed free of their pigment during “conservation,” should be restored to their original color, perhaps tacky by today’s aesthetic standards. The Metropolitan Museum of Art found a good compromise with digital light projections on their ancient Egyptian Temple of Dendur exhibit.

Today, when we look at a good painting, we can be intoxicated by its color and become lost in it, mesmerized, as if in a spell. Despite our attempts at color theory and chemical analysis (we can codify color relationships and understand pigment composition), the effects of color remains something of a mystery, an irrational science.
Like a drug, color can both stimulate and calm; it can be a healing tool and good medicine. In his book Chromophobia, artist David Batchelor writes that “color is a lapse into decadence and a recovery of innocence, a false addition to a surface and the truth beneath that surface. Color is disorder and liberty; it is a drug, but a drug that can intoxicate, poison or cure. Color is all of these things, and more besides, but very rarely is color just neutral.”

Derived from the same etymological root, the ancient Greek word Pharmakos (later Pharmakeus) translates as druggist, poisoner, wizard, magician, and sorcerer. Perhaps the person grinding the color pigments in ancient Greece might with the same mortar and pestle concoct a medicinal cure for an illness, or even put together a charm or spell with magical properties. It is worth noting that the ancient Greeks had no proper word for “art” and “artist,” at least as we know these terms in the contemporary, modern sense. Some scholars have suggested that the closest word to approximate the concept of “art” might be the word techne, meaning skill or the mastery of any art or craft. Techne, by the way, is where we derive English words like technique, technology, and technical. Sculptors and, more especially, painters, did not hold as high a social position as, for example,a supposedly divinely inspired poet or dramatist. 
 Greek Philosopher Plato ranked sculptors and painters in the sixth of seven ranks in his social hierarchy. Roman philosopher Seneca writes of the Greeks, “One venerates the divine images, one may pray and sacrifice to them, yet one despises the sculptors who made them.” 

Our understanding of “artist”—that is, the artist as quasi-religious figure, or a magician, or a truth teller and tricksterstands in contrast to the ancient Greek notion of the artist as craftsman or skilled decorator. 

Much of our contemporary understanding of the role of the artist comes from ideas born of 19th-century Romanticism. But perhaps the ancient Greeks had a much more contemporary understanding of “art” and “artist” than many scholars realize. With pharmakos meaning druggist, poisoner, wizard, magician, etc., could we not very easily suggest the addition of artist to this list as well? The artist as pharmakos is not so much a stretch, being the purveyor of pigments and skilled, perhaps, in the masterful use of pharmakon (artificial color and paint) in such a way as to cast an intoxicating spell on the audience — whether to heal or curse, or perhaps poison our sensibilities.

The Vatican Museums have produced a brightly painted copy of the iconic statue Augustus of Prima Porta in an attempt to more accurately depict the use of polychromy in ancient statuary.

But the artist as pharmakos is a double-edged sword, and once again the meaning is found in the word. Pharmakos: someone with the ability to poison or cure, and pharmakon: either a poison or a cure. This duality mirrors our own contemporary treatment of artists, of course, where artists are often perceived as being different from the general populace, by turns celebrated and vilified. Never completely trusted (like anyone with the ability to poison and cure), artists are perennial outsiders, held in suspicious esteem. And perhaps the ancient Greeks had an understanding of this, too, because as it turns out pharmakos also refers to a sacrificial ritual, for which a city-state would purge evil by exiling (after being beaten and stoned), or by execution (either thrown from a cliff or burned) a pharmakon, a human scapegoat and community outsider (usually a slave, a cripple, or a criminal). 
The pharmakos ritual was performed annually and during times of great stress, such as a famine, invasion, or plague, in hopes that the fortunes of the city would take a turn for the better. But this should not be such an alien concept to us. In times of stress today, even simply financial stress, art and artists are often the first thing to be placed upon the sacrificial chopping block. Art is perhaps taken for granted because of its ubiquity. It is there when you step off the elevator on the way to a doctor’s appointment. It is there when you pick up a novel or when you turn on the radio. What happens when art is removed? Even a philistine, when stranded on a desert isle, would inevitably hum a crude song, draw with a stick upon the sand, or construct a shelter. Art, though hard to qualify in terms of physical necessity, is nonetheless vital to our well-being, necessary for our spiritual, emotional, and psychological well-being. Simply put, we cannot live without art."

Wednesday, March 29, 2017

Morundi-Non-Color Master Painter

Artists on Art: Morandi An Artist I Didn’t Like

BURNAWAY is honored to have Rocio Rodiguez set the stage for our new Artists on Art column, featuring artists discussing artists or artworks that have informed, irked or inspired them.

Giorgio Morandi, Natura Morta, 1941; oil on canvas, 12 by 17 inches. © Giorgio Morandi, SIAE/Musea Morandi, Bologna.
I am not comfortable with only what I know; it is what I don’t know that I am always seeking. That is why I pay attention when confronting an artist’s work that, at first, I don’t respond to. As an artist, what I find most useful is to have my eyes opened by someone else’s work that is very unlike mine.
I remember the first time I encountered Giorgio Morandi’s work—I hated it. The subject was a repetitive parade of badly drawn dusty bottles and boxes typically in the center of the composition. “Not much color sense,” I thought, “can’t he find a bright red in his palette? How can someone spend a lifetime painting the same objects over and over again?”
Many years later, I stood in front of three Morandis and I was dumbstruck. Upon looking, I found nuances in that work that I had never seen before—a color sense that was very reserved yet seemed expansive in that very contained world that he was depicting. An array of grays went from cool to warm as slowly as honey drips from a spoon. I was mesmerized by the paintings’ awkwardness and yet elegant simplicity. What once looked like bad drawing now seemed personal, autobiographical. The tentativeness of the brushstrokes—this wasn’t about flinging paint around and making noise, this was about being quiet. It is almost as if these paintings contained a question and answer and at the same time also expressed a lot of doubt. Not all of Morandi’s work feels this way to me. Some of his paintings are clumsy. But, I do appreciate an artist that makes great work and also stumbles.
More history on Giorgio Morundi and his works. -BBL 
Morandi deliberately limited his choice of still life objects to the unremarkable bottles, boxes, jars, jugs and vases that were commonly found in his everyday domestic environment. He would then 'depersonalize' these objects by removing their labels and painting them with a flat matte color to eliminate any lettering or reflections. In this condition they provided him with an anonymous cast of ready-made forms that he could arrange and rearrange to explore their abstract qualities and relationships.
Morandi's compositions and choice of still life objects allude to his Italian heritage. When assembled together in a still life group, his dusty bottles and boxes take on a monumental quality that evokes the architecture of medieval Italy - a style with which he seems at ease. Morandi's own city of Bologna has many examples of medieval architecture and is home to the oldest functioning university in the world: the "Alma Mater Studiorum", founded in 1088.

Still Life recreated in Morundi's studio


Wednesday, March 22, 2017

Is Our Sense of Color Fickle?

Such a bravado show of color stirs up memories and emotions. So do the many tints and shades in a garden, but unlike a museum exhibit, gardens aren’t static. Gardeners are always messing about with color, creating and rearranging combinations of leaf and flower. But this color play is nothing compared to nature’s contribution to the garden scene. Plants morph in color, texture, shape and size through the seasons. Then there’s fog, rain, sun, mist, frost, dawn light and moonlight, all of which change how we perceive color by the minute, hour and day, as well as the time of year.

So how, with all this flux and possibility, do gardeners develop such inexplicable yet stubborn color prejudices? Years ago, it seemed that everyone scorned orange. Then hot colors replaced pastels in our affections. Remember when the pairing of dusty pink with silver foliage was cool? After seeing so many gardens seared by the dramatic combo of black and chartreuse, the pairing of pink chrysanthemums with dusty miller seems pallid and kind of quaint. Gardeners tell me they adore violet, anything violet, but would never let a white flower in their garden. Go figure.  

Flowers and foliage in new colors are introduced every year, and our tastes change. Who would have thought that ebony flowers, the darker the better, would be so prized? Right now, varying shades of green on green look fresh. It’s all about color, or lack of color, or the color on the underside of the leaves, or … well, you get the idea.

Strolling through lots of public and private gardens, looking closely, noting combinations of flowers and foliage that appeal to you, is a good way to get shaken out of color complacency. 

So is flower arranging.

 It’s so much easier to play around with color in the vase than in the ground: no transplanting involved. Varying textures and shapes allow for unexpected harmonies. You learn that glossy, deep-green leaves of camellia or magnolia help referee the most vivid colors. Grow foliage in every shade from plum to silver, and you’ll be able to mellow out any combination of flowers.

A passionate comment by glass artist Ginny Ruffner was most influential in broadening my sense of color. Years ago, I was interviewing the Ballard resident about her stunning garden. I made the mistake of asking her favorite color, and she nearly exploded in defense of every shade and tone. Ruffner said she loved them all and could no more choose between one color and another than she could choose between her own fingers. How freeing. After all, we have a virtually unlimited color palette, plus every shade of green, to work with. 

All you need do is follow your eye, your memories and your heart as you play with color. You might as well have fun with it, because it takes only a hungry deer (WE HAVE MANY NIBBLERS IN OUR NEIGHBORHOOD-BBL)  or a big windstorm (WE DON'T HAVE TOO MANY OF THOSE-BBL) to change the most carefully orchestrated color scheme. And then you get to start over.

Wednesday, March 15, 2017

The Many Faces of Green

The Wicked Witch in The Wizard of Oz movie sports a green face. Green often connotes the idea that people sick with envy could turn green. That old wicked witch was certainly jealous of Dorothy’s ruby slippers, and the whole plot of the story hinges on her attempt to snag the shoes.
Centuries earlier, Shakespeare’s Iago tells Othello to “beware the green-eyed monster” of jealousy. But, Iago became the cunning cat who toyed with Othello to feed his illusion that his faithful wife Desdemona is deceiving him. Shakespeare picked the color which, at his time, had the negative connotations of natures that are suspicious, bitter, unmindful, greedy, bland, undependable and deceitful, all characteristics of Iago.
Despite some negativity associated with green, it has many positive qualities in many cultures. Spring season and the positive symbolism of jade associated with longevity and rebirth are two desirable attributes to the Chinese. In Celtic mythology it was the color of Tir na n’Og, Isle of the Blessed. Other positive connotations associate green with being discreet, sensible, fruitful, benevolent, tolerant and talented. Green symbolizes harmony on the color scale; it is midway between red and purple. It is the bridge or gateway in the spectrum. Green connotes prosperity, especially in business. And, it is nature’s favorite color. It soothes most people. Because it is easy on the eyes, it has long been a popular color in the work place. Green is versatile and it can be used effectively indoors or out for home decor. It has connections to feelings of peace, ecology, renewal, self-control, security, flexibility, and harmony.
International interior designer Maria Killiam says: “Grass green is the most restful color. Green symbolizes self-respect and well being. Green is the color of balance. It also means learning, growth and harmony.”
 Holly is one of the evergreens used in ancient festivals as an emblem of hope amid the darkness of midwinter. The symbolism was given a powerful new charge by Christian analogies between its thorns and red berries and the Passion of Christ. Hence its central place in Christmas decorations. Other evergreens are used to suggest immortality. And, who can forget the gorgeous lyrics penned by Barbra Streisand for Evergreen, a lover’s fantasy which helped her win her first Oscar for the best song.  

Emeralds are often associated with fertility, growth, and spring germination because of its hue. It acquired folk symbolism as a lucky stone of conception and childbirth and was believed to shorten labor. The emerald is the stone of the Pope because of its connection with both faith and hope. In the Christian liturgical calendar, green is the color associated with Kingdom Tide’s season, the period following Epiphany which extends to Easter. Ministers wear green stoles during this period of time. 

Our language uses green references for expressing both positive and negative traits identified with this versatile color:
Good green
  • Green light - go, permission to proceed with a task
  • The green room - in theater or television it is the room where performers and guests go to relax
  • Green thumb – a person good with plants
  • Greenback - US dollar bill, money
  • Greener pastures - something newer or better (or perceived to be better), such as a new job
  • Greens – healthy vegetables
Bad green

Seattle’s Central Library painted its bathrooms an unpleasant shade of green in 2004 to discourage long-term use by the homeless. The library advocated for the city to build a downtown day shelter and hygiene center to better serve those in need. 
  • Green-eyed monster - jealousy
  • Green with envy - jealous or envious
  • Green - inexperienced, untested, untrained
  • Greenhorn - novice, trainee, beginner
  • Green around the gills - pale, sickly
The Emerald City epitomized the place where all the short-comings of the Scarecrow, Tin Man and the cowardly Lion were erased. The green aura shining ahead of the quartet of seekers on the Yellow Brick Road draws them forward like a beacon promising fulfillment of their wishes and dreams. Each received what was desired. The Emerald City seems like heaven until one awakens from a detailed dream and home becomes better than one first realizes. Green was definitely the go-to color for Oz’s happy citizens.


Wednesday, March 8, 2017

Green's Properties

Green’s Properties
From Nori and Sandra Pope's book's photos

            “Green is the color of primeval wealth---sappy green fields, the green of a woodland glen---everyone can revel in it. It is this thin layer of green plant cells that keeps us breathing, keeps us fed, keeps us alive. No wonder we adore it and long for it when without it. The changing seasons add the melody to the green of a planting. Spring shoots are often tinged with chartreuse, turn blue-green in their fullness, and fade to biscuit yellow in the autumn before they fall. The eye translates the fresh green of spring to excitement, change and newness.
            Surely green is the color of Pan, god of life. Kirlian photography, which makes the invisible emanation of the psyche visible, concurs: green is the lush, sympathetic color.

George Harrison's Living in the Material World album cover

            Colors are rarely seen in isolation, so it is important to be aware of the optical effect adjacent colors have on each other. Both Goethe in his theories of color harmony and Chevreul in his 700 page monograph of 1839 about the Gobelins dyers pointed out the phenomenon of successive contrast, the way in which the eye, staring first at a color and then at a piece of white paper, will see on the paper an afterimage in a complementary or opposite color. If the eye is fixed on green, the successive contrast will be red; if fixed on yellow, violet; if fixed on blue, orange and so forth. Each shadow is in perfect contrast, and Seurat and Monet made use of this effect in creating the color depths of their canvases. It results in a dazzling shimmer between pure red flowers and green leaves.

(An excerpt from Nori and Sandra Pope’s gorgeous book Color in the Garden)

Wednesday, March 1, 2017

A Happy Pantone Color for 2017

This year’s choice is Greenery, officially known as PANTONE 15-0343, and it’s described as a fresh and zesty yellow-green shade that evokes the first days of spring. I call it spring leaf green! Think of it as St. Patrick's Day green with a bit of yellow (a happy color) added to it.
“The tangy yellow-green speaks to our desire to express, explore, experiment and reinvent, imparting a sense of buoyancy,” said Leatrice Eiseman, executive director of the Pantone Color Institute in a statement.
This chartreuse-like shade is said to encourage people to take a deep breath and reinvigorate.

The Pantone Color Institute in Carlstadt, N.J. is a division of X-Rite Inc., which is headquartered in the Grand Rapids suburb of Kentwood.
Pantone is considered a global authority on color and provider of professional color standards for the design industries.
One of the perks of being the Color of the Year is that the shade will show up in everything from fashion, home products and more.

Superb Canadian interior designer Maria Killiam declares: "The color for 2017 is kelly green (hooray, I've been waiting for this green for a long time) and the look is refined and generally warming up. 
Green reigns supreme in 2017 as the most versatile colour with broad appeal. 
Greens are getting both richer and warmer, moving away from the beachy, minty hues towards more grounded shades of yellow green spring shoots and deep leafy greens. (In other words, I think Pantone nailed it with Greenery this year). 
Move over cool industrial edginess and laid back rustic everything, 2017 is the year we return to warm, cozy and luxurious layering!"