Issue 14

February 2018 – July 2018

February 8, 2018 via FastCompany and Smithsonian

Werner’s Nomenclature of Colours: Adapted to Zoology, Botany, Chemistry, Minerology, Anatomy, and the Arts


In the late eighteenth century, mineralogist Abraham Gottlob Werner devised a standardized color scheme that allowed him to describe even the subtlest of chromatic differences with consistent terminology. His scheme was then adapted by an Edinburgh flower painter, Patrick Syme, who used the actual minerals described by Werner to create the color charts in the book, enhancing them with examples from flora and fauna.

First published in 1814, Werner’s Nomenclature of Colours is a taxonomic guide to the colors of the natural world that has been cherished by artists and scientists for more than two centuries. A charming artifact from the golden age of natural history and global exploration.

February 25, 2018 via InTheKnow

Nutella as a Hair Dye

see the video here

March 5, 2018 via NYPostExtraordinaryPeople


March 12, 2018 via DesignTaxi

Krispy Kreme
is giving its donuts the green treatment, just in time for St Patrick’s Day.


March 20, 2018 via Refinery29

Gen Z Yellow

Just when you thought the trend for defining an age group by a colour was dying a death, along comes ‘Gen Z yellow’, this season’s answer to millennial pink and the shade spotted on our favourite sartorial stars on the streets of fashion month. As its name indicates, love for the Easter-appropriate colour didn’t spring from the influencers and editors attending AW18 but rather from Gen Z (the group born between the mid ’90s and early ‘00s, according to Forbes).

So how would one describe Gen Z yellow? We’re fans of Pantone’s Meadowlark but the beauty of the trend is that no one shade appears to dominate. Sorbet lemons, zingy turmerics and rich butters are all in play this season, which could explain its appeal. Yellow has been offered up by designers season after season but has never actually made it (as a full-blown trend, at least) into stores, thanks to its limited wearability frightening buyers and consumers alike. Since appearing here, there and everywhere over the past six months, however, a multitude of shades have in fact proven totally flattering, and the perfect antidote to that ubiquitous pink.

March 20, 2018 via PrintingNews

X-Rite and Pantone Publish Digital Maturity Model for Brand Packaging

brand packaging.jpg

“Brands understand the benefits of streamlining processes in order to increase speed to market for their products,” says Cindy Cooperman, Global Director, Brand and Packaging at X-Rite. “Our digital maturity model allows CPG brands to identify their current capability level in developing packaging. It’s also a valuable framework for defining the future strategies, processes, and digital tools required to more effectively address color requirements, drive revenue and improve operational efficiencies across the packaging value chain.”

The “Digital Maturity Model for Brand Packaging” defines five levels of maturity: Reactive, Organized, Digitized, Connected, and Intelligent. In the white paper, each of the five stages is clearly described, as well as 14 dimensions that comprise the maturity levels. For each level, there are descriptions of what motivates a business to level-up their capabilities. The five main levels of the maturity model are listed below:

REACTIVE: Manual, offline tasks and processes are triggered by external pressures.

ORGANIZED: Tasks are triggered for established stakeholders by defined processes, timelines and physical quality measures using basic computerized tools.

DIGITIZED: Projects, tasks and processes are increasingly completed and measured digitally using configured hardware and software.

CONNECTED: Packaging software and hardware is continuously integrated with other business processes and systems of record.

INTELLIGENT: An integrated ecosystem of full product information and imagery automatically improves and synchronizes across internal and external interfaces.

“Many brands identify with aspects from multiple stages of the maturity model, and that’s ok,” says Adrián Fernández, General Manager of Pantone. “Our hope is that the model provides these companies a framework to simplify their processes and raise the level of conversation and cross-collaboration between departments such as design, marketing and package printers, while suggesting specific ways to take current processes to the next level.”

April 9, 2018 via TravellingLight and Rappler

Kaamulan Festival: Philippines

Arguably one of the Philippines’ most colorful yet most sacred indigenous festivals. It celebrates the story and the traditions of Bukidnon’s seven indigenous peoples. Music, dance, and revelry bring the streets to life and yet all these are preceded by solemn rituals and asking for permission from Apo Magbabaya (God) to share their sacred dances and traditions on the streets.



April 19, 2018 via MatadorNetwork

Rare waterfall rainbow caught at Yosemite National Park

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April 21, 2018 via ArtInsider

Dean McRaine: Psychedelic Pottery at Light Wave Pottery
in Kauai, Hawaii

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April 22, 2018 via MyModernMet

Tukoi Oya: Sparkling UV Tattoos

video link

April 24, 2018 via Racked

The Story Behind Osho Sannyasin Maroon Outfits and the Wild Wild Country

(long read)

Rainbow Pasta

video link

May 14, 2018 via GreatBigStory

Caño Cristales, Colombia

video link

May 23, 2018 via X-Rite

X-Rite Color Detective-The Red Ball Mystery

red ball

May 29, 2018 via LonelyPlanet

The new 2018 Colors of Travel Study, created in part by the Pantone Color Institute, identifies the coolest colors that are being used in inspirational travel photos.

June 1, 2018 via InTheKnow

$1000 Gold Chicken Nuggets

video link

June 3, 2018 via TravelInspiration

Komodo beach, Indonesia

(not so pink really, but nice photo anyway)


June 3, 2018 via 00SecDocs

Flip-flop Art in Kenya

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June 5, 2018 via StyleInsider

Candy Shoes: Chris Campbell

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June 12, 2018 via PLGINRT-PROJECT


June 15, 2018 via Dezeen

Daniel Quasar: A redesigned and more inclusive LGBT Rainbow Flag by


The flag includes black and brown stripes to represent marginalised LGBT communities of colour, along with the colours pink, light blue and white, which are used on the Transgender Pride Flag.

Quasar’s design builds on a design adopted by the city of Philadelphia in June 2017. Philadelphia’s version added black and brown stripes to the top of the Rainbow Flag, to represent LGBT communities of colour.


Quasar’s design builds on a design adopted by the city of Philadelphia in June 2017. Philadelphia’s version added black and brown stripes to the top of the Rainbow Flag, to represent LGBT communities of colour.

In addition to the black and brown stripes – which Quasar says also represent those living with AIDS, and those no longer living – he introduces the colours used on the Transgender Pride Flag, designed by Monica Helms in 1999, and which consists of one horizontal white stripe, surrounded by two horizontal pink stripes and two light blue stripes.


Transgender Pride Flag, designed by Monica Helms in 1999.

June 20, 2018 via TastyVegetarian

Rainbow Hummus

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June 20, 2018 via VICE

The Gypsy Shrine: #glitterbooty


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July 6, 2018 via Brandon Rollin

Brandon Rollin: Precise, Smudge-free Dot Paintings

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July 12, 2018 via Insane 51

Insane 51: 3D-glasses graffiti

Insane 51.JPG

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July 14, 2018 via Girls Gone Global

The Pink Tax

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July 14, 2018 via BreakThroughColor

Tracy Holmes: Break Through Color


In theory, BreakThroughColour is an abstract system, a new way to explore, understand, work with, play with, and simply celebrate colour. In practice, BreakThroughColour is a deck of cards, like a regular deck of playing cards, but with more colour. And more breakthrough.

July 15, 2018 via Chromapost


Translation of T. S. Eliot’s “The Waste Land” into color.


Read it all here :


July 15, 2018 via CNN

The World’s Oldest Color : Bright Pink

Researchers discovered the ancient pink pigments in 1.1-billion-year-old rocks deep beneath the Sahara Desert in the Taoudeni Basin of Mauritania, West Africa, making them the oldest colors in the geological record.
According to Dr. Nur Gueneli, who discovered the pigments as part of her PhD studies at Australia National University, the bright pink colors are more than 500 million years older than the next oldest known pigments and were produced by ancient ocean organisms.
“The bright pink pigments are the molecular fossils of chlorophyll that were produced by ancient photosynthetic organisms inhabiting an ancient ocean that has long since vanished,” Dr. Gueneli said in a news release.
July 16, 2018 via Markus Åkesson

Oil Paintings


Now You See Me, 2018, 180x140cm, oil on canvas

July 18, 2018 via DesignBoom

Fabio La Fauci “Is It You?”

Italian artist Fabio La Fauci presents a series of faceless portraits in his latest body of work ‘Is it you?’ in a study that goes beyond representation, the berlin-based painter combines figurative techniques and plastic abstraction.


July 22, 2018 via Maggie Maggio Smashing Color and Kickstarter

Emily Noyes Vanderpoel

Emily Noyes Vanderpoel (1842-1939) was an artist, collector, scholar, and historian working at the dawn of the 20th century. Her first and most prominent work, Color Problems: A Practical Manual for the Lay Student of Color, first published in 1901, provides a comprehensive overview of the main ideas of color theory at the time, as well as her wildly original and artistic approaches to color analysis and interaction. Through a 21st century lens, she appears to stumble upon midcentury design and minimalism decades prior to those movements.


She was a visionary color theorist whose methods were later adopted by men and became ubiquitous in design curriculums around the world. She was an incredible artist and creative champion whose pioneering work is conspicuously absent in nearly all history books. We aim to change that with this new presentation of her seminal work. In addition to presenting the original book in an accessible softcover, we are offering a beautifully bound hardcover edition exclusive to this Kickstarter campaign. This deluxe facsimile version will not be made available again.

image Emily.gif

July 22, 2018 via Brides

9 Vibrant Wedding Decor Picks in the 2018 Pantone Color of the Year


July 24, 2018 via VOX

White Painting

Video link here

July 25, 2018 via Fara Ali

Making of the Table top with sink strainer pour

Video link here

July 26, 2018 via 12News

July 26, 2018 via Feel Desain

Damien Hirst in his London studio


video link here

July 27, 2018 via TheSeattleGlobalist

Imagining bubble tea without the thick neon straw is like imagining a pumpkin spice latte without the iconic Starbucks logo which is why Seattle’s plastic straw ban has had a big impact on bubble tea shops….

July 29, 2018 via MyModernMet via Garip Ay

Artist Garip Ay performs the oldest Turkish art of Ebru, generally known today as painting on water.

video link here

July 30, 2018 via John Wehrheim

If any of you might be curious about the meaning of tantric mandalas and the difference between the Tibetan and Bhutanese sand mandala traditions, here’s a little film I produced with Robert Stone, Thinley Choden, and Frank Hay–our Bhutan Exhibition team.

video link here

July 30, 2018 via GeniusIdeasInsider

Vincente Garcia: Smoked Feather Pottery


Video link here

July 30, 2018 via GreatBigStory

Sapphire Tarantula


video link here

July 30, 2018 via Huedoku

The Three Things You Must Know About Complementary Colors


1. Complementary colors are opposite each other on the color wheel.

2. Complementary colors when blended, mix to grey, and when standing next to each other create a vibration.

3. The after image of a color is the complement (and the primary colors ain’t so primary)


July 31, 2018 via VietJet

Listed as one of the most beautiful and gorgeous church in Ho Chi Minh City, Tan Dinh Church mesmerizes every visitors by unique and dazzling architecture and sculptured patterns. If you have chance to visit our city, don’t forget to stop to admire this stunning architectural work.


Miscelaneous missed in past issues …

September 17, 2017 via ScienceDaily

Analyzing the language of color

Cognitive scientists find that people can more easily communicate warmer colors than cool ones

Languages tend to divide the “warm” part of the color spectrum into more color words, such as orange, yellow, and red, compared to the “cooler” regions, which include blue and green, cognitive scientists have found. This pattern, which they found across more than 100 languages, may reflect the fact that most objects that stand out in a scene are warm-colored, while cooler colors such as green and blue tend to be found in backgrounds, the researchers say.

In a new study, MIT cognitive scientists have found that languages tend to divide the “warm” part of the color spectrum into more color words, such as orange, yellow, and red, compared to the “cooler” regions, which include blue and green. This pattern, which they found across more than 100 languages, may reflect the fact that most objects that stand out in a scene are warm-colored, while cooler colors such as green and blue tend to be found in backgrounds, the researchers say.

This leads to more consistent labeling of warmer colors by different speakers of the same language, the researchers found.

“When we look at it, it turns out it’s the same across every language that we studied. Every language has this amazing similar ordering of colors, so that reds are more consistently communicated than greens or blues,” says Edward Gibson, an MIT professor of brain and cognitive sciences and the first author of the study, which appears in the Proceedings of the National Academy of Sciences the week of Sept. 18.

October 3, 2017 via  PNAS 

Color naming across languages reflects color use

The number of color terms varies drastically across languages. Yet despite these differences, certain terms (e.g., red) are prevalent, which has been attributed to perceptual salience. This work provides evidence for an alternative hypothesis: The use of color terms depends on communicative needs. Across languages, from the hunter-gatherer Tsimane’ people of the Amazon to students in Boston, warm colors are communicated more efficiently than cool colors. This cross-linguistic pattern reflects the color statistics of the world: Objects (what we talk about) are typically warm-colored, and backgrounds are cool-colored. Communicative needs also explain why the number of color terms varies across languages: Cultures vary in how useful color is. Industrialization, which creates objects distinguishable solely based on color, increases color usefulness.

University of Akron researchers find new way to make color

Researchers have developed a new way to make color, by copying birds to create hues that are not only bright but that will not fade with time.

“We can create any color on the visible spectrum,” said Ali Dhinojwala, Morton professor at the university’s Department of Polymer Science.

So, what’s the big deal — dye, paint and pigment makers can already make pretty much any color imaginable, from a thousand shades of blue to myriad DayGlo colors, right?

Right, except those colors are based on pigments, which are crayons compared to what Dhinojwala and his colleagues at UA, Northwestern University in Chicago and Ghent University in Belgium have come up with.

“This is structural color. It’s very different,” Dhinojwala said.

Pigments make us see certain colors when all of the other colors in the light spectrum are absorbed. In other words, when white light hits a blue pigment, all the colors in the spectrum other than blue are absorbed, while the blue light is reflected back to our eyes. A black pigment absorbs virtually all the visible light, and a white pigment reflects them all back.

That’s not how structural colors work, Dhinojwala said. Instead of absorbing color in the spectrum, they scatter it, kind of the way a prism does. They also are often iridescent, which means they shimmer with a rainbow of colors, especially as the object or its viewer moves. Those cool cars you may have seen with custom paint jobs that change from green to purple as you walk by — those are examples of iridescent colors, as are the feathers of many birds.

While it looks very cool, iridescence is not something that industry necessarily wants.

“If you’re painting your car, you might think that’s a really cool effect,” said Kent Young, senior director of research and development at the Sherwin-Williams Co. in Cleveland. “But if you’re painting a wall in your house, you might want it to look blue, whether you look at it from 90 degrees or 30 degrees.”

Yes, your average 12-year-old might still prefer iridescent walls, but for paint, coating and textile makers, and other industries, having a predictable, manageable color that does not change is usually what’s needed, Young said.

Dhinojwala said the researchers have solved that problem by making tiny nanostructures from melanin, a common pigment in nature and the same one that determines the tone of a person’s skin.

Better yet, he said, the process for making the structures is easy and inexpensive. It involves making a simple emulsion by mixing the right ratios of melanin, oil and water. It’s basically blending them together, he said.

“You get little oil droplets in water, or water droplets in oil. Within them are melanin particles floating around. The water diffuses out and the bubble shrinks,” Dhinojwala said.

What’s left are what he refers to as “beautiful spheres” of melanin — so small that you need an electron microscope to see them. Their structure is determined by the ratio of melanin, oil and water in the mixture, and by varying that ratio, the structures can be made to produce any color that’s needed.

Also, Dhinojwala said, melanin is easily made and synthetic melanin works just as well as natural melanin.

The next step will be to find real-world uses for the new technology.

The first applications might be military, and that’s because the U.S. Department of Defense has funded specific research at UA, the University of California, San Diego and the University of Delaware with $8 million. No, the military isn’t looking for iridescent uniforms. The tiny melanin balls look like they can do other things, too, such as block UV or gamma rays that can harm people and damage equipment.

But the ultimate goal is to make something for industry, and Dhinojwala said he’s already received emails from interested companies.

October 13, 2017 via TheTimes

National College of Art and Design draws up plan to remove red ink from its books

A plan to deal with accumulated losses at the National College of Art and Design is being urgently developed.

Accounts for the college in Dublin, which boasts Orla Kiely, the designer, and Philip Treacy, the milliner, as alumni, show it recorded combined losses of €1.4 million in a two-year period. A board has begun the process of overhauling the accounting system.

January 4, 2018 via Datacolor

Flipping the LED – Switch Color Management with Retail LED Light Sources (part 1)

Companies worldwide are rapidly adopting LED lighting for its improved energy efficiency and resulting cost savings. But what they may not have considered is how the color of their products will be impacted. The color of a product is directly related to the color of the light source, so the visual experience of designers, merchandisers, suppliers, and ultimately customers will be affected when products are viewed in LED lighting. To ensure a positive customer experience, companies must be proactive in evaluating the implications of a change in light source on the color of their products.


An Implementation Plan

Prior to the transition to LED, companies must evaluate how their color standards and their existing products are impacted by changes in flare and metamerism, and then decide what if any corrective actions are required. But the severity of the impact may be different depending on who is evaluating the products, so key stakeholders must be considered in the evaluation process:

  • Designers: The colors they have selected for their designs may not look the same in LED as they do in their original primary light source, changing the overall aesthetic of the product
  • Merchandisers: The seasonal color palette may not be as pleasing, either because the entire palette shifts in color or individual colors flare in an unacceptable direction
  • Color office: Communication is key, and the retail/apparel color office is often left with the responsibility of implementation into the global color management workflow
  • Suppliers: Existing colors may need to be reformulated to match standards under a new light source, and on-going production may no longer match the standard as well in LED
  • Everyone who evaluates color: Color evaluation will require light booths equipped with LED, and software must be updated to calculate color differences in LED, both of which may incur some amount of cost to implement
  • Ultimately the customer: The customer experience must still be positive, and support on-going sales of products

Winter 2017 via StanfordMedicine

An ophthalmologist on how we see color

A collection of insights into how we see color and how artists use it, consciously or unconsciously, to shape their work…