No contact with aliens was made, but I hope that if they do arrive... they do it with this much color. The UFO was an art project conceived by established New York artist Peter Coffin and created in collaboration with London-based Cinimod Studio. The colorful UFO made its appearance July 4th at the Gdansk Festival of Stars.
See More Photos and Read More Details at Dezeen Design Magazine
The overall UFO structure is 7 metres in diameter and manufactured of aluminum for lightness. 3000 bright and individually controllable Color Kinetics LED nodes have been arrayed across the structure and are controlled via a solid state computer. An on board 6 kw generator provides the system power, and the overall UFO can be remotely controlled via SMS messaging.
Imagine hiking on a sunny mountain and witnessing an unforgettable phenomenon worthy of a Hollywood special effects team: as a bank of chilly fog rises from a couloir, your shadow grows to gigantic proportion (hundreds of feet high), surrounded by a prismatic halo.
In olden times, the spectre was considered to be of supernatural origin and fearfully ominous in nature. Today, the phenomenon is known as a "Brocken Bow," named after a mountain in Germany. Like a small, circular rainbow, a foggy Brocken Bow tends to last from several seconds to fifteen minutes. Bands of color surround the gigantic shadow at a distance of several feet. The outermost band is red, and the others follow the order of the typical rainbow. In some cases, a Brocken Bow is surrounded by a second bow, whose color order is reversed. A similar phenomenon, known as a Glory, is distinguished by the fact that the bands of color touch the head of the shadow. Glories typically sport seven bands of color and can last for hours at a time. Sometimes Glories are surrounded by glowing white fog bows.
Though printed in black and white, great literature is bursting with vibrant colour. In this rebus-style puzzle, color words and parts of words have been replaced with colored boxes. Try to guess the exact hue of each. Roll your mouse over the colored boxes to reveal the missing words. Click the colored boxes to learn more about each hue. Special thanks to Paul Dean for his colorful research.
Some folks say that once in a while you’ll find a snake in there, he glistening magic in his and stripes, lying there near your foot like a thing bewitched, the fatal spell of his fangs in his wonderful color: cute thing, pretty little and snake. Those rattlers in the swamps are of wonderful coloration: , , , , , , in great diamonds. Not like desert rattlers, dry, dusty in color, but moist in color, refulgent in color.
—Julian Lee Rayford, Cottonmouth, 1941.
I sit on a bed, / Outside, the wall is , / Thereby the apple hangs, / And the wasp, caught by the fangs, . . .
wings across the sea! / Moonlight from tree to tree, / Sweet hair laid on my knee, / O, sweet knight, come to me!
—William Morris, "Golden Wings," 1858.
The tradition of quilting has been a part of many cultures. Thought to have originated in China and Egypt simultaneously, the first record of a quilted garment dates back to 3400BC. Quilts have been highly sought after not only for their warmth and functionality, but their artistic quality and color compositions as well.
Photo by ramson
Quilting (stitching together layers of padding and fabric) is as old as ancient Egypt if not older and wholecloth quilts were very common trade goods in wealthy circles in Europe and Asia going back as far as the 15th century.
Piecing fabric together is also very old. It was more often used for clothing but also occasionally for decorative objects like this exquisite pieced pillow from the 15th century.
Photo by hey skinny
The making of pieced quilts made up of cut pieces of fabric sewn in block form with the blocks then sewn together to make the quilt is a more recent development. Pieced block quilts, often called patchwork quilt, did not become the dominant form of quilt making until the mid-19th century, and still is not the traditional form in Provence, Wales, and parts of India.
Photo by shelley_ginger
Quilt making was uncommon in America in the late eighteenth century and early years of the nineteenth. Most women were busy spinning, weaving and sewing in order to clothe their family. Commercial blankets or woven coverlets were a more economical bedcovering for most people. Only the wealthy had the leisure time for quilt making so Colonial Quilting was done by only a few.
The bikini has been raising blood pressures and making people blush since its modern creation in 1946. It has gone through a few changes over the years in style; different patterns, plummeting waist lines, disappearing amounts of fabric and fluorescent fishing lure-like colors, but like most things in fashion, things tend to come full circle, and designers look for something new by looking at something old for inspiration.
To celebrate these liberating two pieces of fabric, and as a reminder of the fleeting summer days, we're taking a look at the colorful history of the bikini, Styles from then and now, and the most famous (or infamous) bikinis known in pop culture.
S.I. Swimsuit Issue
That's it. One color per day.
COLOURlovers: What is Hexday, and what was the inspiration behind it?
Jon Sykes: Hexday is "a social experiment in color picks" I guess that's what I'd say. It's hard to say really. It's evolving. Originally it was probably more of a test web app. I was just starting to use CakePHP (which is awesome by the way) for my personal project web apps, and I came up with an idea that if you allowed people to pick 1 color and only 1 color every day, what would they pick. So I built a web app around the idea. We had a spurt of traffic when we first launched, then it slowed down (for a few months it was me and 1 or 2 real regulars that were the only posters), it seems to be having a resurgence now which is great and has encouraged me to spend more time in my evenings working on features. I'm constantly struggling with the natural instinct that I need to make the volume higher - sites that do well allow users to keep adding content. Hexday, apart from the sampler, you get to interact with the site once a day. That's it. It's really tough to keep people interested when they might only hit a sites once or twice a day. But deep down, I know I shouldn't change that.
If I allowed people to pick as many colors as they wanted, the whole reason for the site would be gone, it's that forced single choice that hopefully makes people think before they post. If you want to pick endless colors or create palettes there are sites for that, you guys being top of my list, but there are a few others as well. That's not my market. Eventually I want to make it that people can use the color they pick. I have a few users who use the color they pick each day in their own web sites (as a heading color or a background color), I exposed picks as CSS so they could do this. It's small enough that I'm very open to requests at the moment.
CL: Hi, how are you today?
Jon: I'm doing very well indeed David, I hope you're doing well too. It's 5,52pm and I'll be leaving work any second for a long weekend of sitting on the beach.
CL: Other than picking a color everyday, how do you spend your time?
Jon: I'm a husband and father of 1, my business card says I'm a "Senior UI Architect" which means I spend most of my days helping people build the front ends for their web apps, helping to direct, influence and eventually provide the means that users can interact with their online apps. I work at a great company called Media Hive. We're a small agency in vibrant Red Bank, NJ.
All colors tend to white,
the fiercer the intensity of light
Did you hear the one about the minimalist who bought a coloring book but deliberately overlooked the crayons? Visual artists who subscribe to the Minimalism philosophy seek to simplify things down to what's necessary. Since the white page of a coloring book reflects all colors, is a crayon truly necessary? Inspired by COLOURlovers, I created the Minimalist Coloring Book, a meditation on the spectrum contained within white. As the book features images of white things printed on white paper, it invites us to expand our eye for subtlety. For, indeed, there is a rainbow of whites at play within the dendrites of a snowflake, the ruffles of a flag, the tufts of a polar bear, or the plumage of a seagull (to name but a few examples).
Following is a random sampling of images and quotations from the Minimalist Coloring Book, accompanied by subtle palettes from the COLOURlovers library.
A wintry seagull hung white as a winter leaf above the surface of the waves.
—Achmat Dangor, Waiting for Leila (1981)
The polar bear will make a rug
Almost as white as snow:
But if he gets you in his hug,
He rarely lets you go.
—E.V. Lucas, A Book of Verses for Children (1970)
A few more years and there will be nothing but the white of our empty chairs around a table, white as the white flag of our shared surrender.
—Marie Claire Blais, These Festive Nights (translated by Sheila Fischman, 1997)
The work of Chicago area based artist Vaeda Baty is full of dream inspired, softly colored and richly textured photographs.
Vaeda was nice enough to send us some of her work to share with COLOURlovers, so I asked her a few questions about life and work, and found out what exactly is going on in those inspiring dreams.
COLOURlovers: Tell me about yourself
Vaeda Baty: I am an independent photographer from the Chicago land area with a simple desire to communicate with the world through creation. I became interested in photography when I realized that everything I have come to know will one day disappear.
CL: Tell me about your work.
Vaeda: Much of my work explores the natural world. I attempt to understand the tension present in a life lived dialectically. Photography is a form of storytelling, and I am moved to be a part of the narrative.
'stained glass visionaries'
CL: What inspires you?
Vaeda: I am inspired the most by great people in my life, my loves. I am also constantly inspired by other artists and my dreams. The beauty of everyday moments and the reality of loss.
CL: What do you look for in your compositions?
Vaeda: They look for me! I will be out and about with my camera and something will draw me into a particular scene. I want to be able to tell a story about the subject. Interesting light is important as well.
CL: Are you attracted to certain colors more than others?
Vaeda: Blue is by far my most favorite color to work with. I am drawn to primary colors in general and often prefer to work with a monochromatic palette. I also love neutrals.
Imagine if an artist could take millions of years to complete a single painting.
Over millions of years the natural process of water penetrating and seeping into stones, bringing with it solutions of iron and magnesium, along with other elements, leaves traces of color and forms within the stone. This, along with cracks created from pressure and channels of water, combine their lines to push up imagery of mountains and trees, creating landscapes of unmeasurable beauty.
Known under a few names, such as: scenic stone, pictorial stones, pietra paesina, marble ruiniforme, lithographic limestone, and stone Florence (there may be others too), these stones were highly prized in early modern Europe and, before that, Asia, because of the beautiful naturally created organic landscapes.
There are three areas in particular that are known (or were known at some point in time) for these types of stones: Florence, Italy; Jasper, Oregon; and Cotham, England.
Artists also used these stones as a canvas adding their own hand and transforming the natural lines and shapes of the stone's face with their own paints, like the one on top painted by Dutch painter Hercules Segers, and the other one by Johann König.
Though printed in black and white, great literature is bursting with vibrant color. In this rebus-style puzzle, color words and parts of words have been replaced with colored boxes. Try to guess the exact hue of each. Roll your mouse over the colored boxes to reveal the missing words. Click the colored boxes to learn more about each hue. Special thanks to Paul Dean for his colorful research.
Big [moths] with reddish markings, pale - , with , and and ."
"What do you mean by ' and ?'" asked the Bird Woman so quickly that the girl almost jumped.
"Not exactly ," explained Elnora, with tremulous voice. "A re
t="this.style.color='#840300'" onClick="window.open('http://www.colourlovers.com/color/840300/','_blank','')" title="840300 / dark reddish">ddish, , with - coloured spots and lines on their wings."
—Gene Stratton-Porter, A Girl of the Limberlost, 1909.
As by a fascination, every eye was now directed to the glaring - eye of Simon.
—Harriet Beecher Stowe, Uncle Tom’s Cabin, 1852.