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My mother baked Halloween cookies, and I couldn't help but notice that something was amiss. Humorist Jonathan Caws-Elwitt offers his two cents: My guess is that your mom is dabbling in some variety of postmodernism. By fragmenting the cookie gestalt along a set of subjectively determined fissures that cannot be reconciled with the rationalistically imposed boundaries between cookie "self" and cookie "other," she has essentially deconstructed the sheet of cookies into a paradigm that is manifestly at odds with the teleologically determined "deep structure" posited by the canonical iteration of the cookies.
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  by c-eight. Spectral SpectresShrouded in mystery, ghostly apparitions materialize in many subtly haunting colors. Besides deathly white, the specrtral spectrum embraces ethereal violets, cadaverous yellows, twilit blues, midnight blacks, moonlit silvers, and near-transparent yet unmistakable hues spanning the entire night rainbow. The delicate, insubstantial hues of the ghostly realm can add an emotive dimension of wistfulness to any palette, Halloween-themed or otherwise. Charley: What color? Nancy: Ghost color. Charley: Ghost color? Oh, ghost color! —John Cecil Holm, Gramercy Ghost (1951)
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Strange white lustres and shadowy blacks are integral to the philosophy of art teacher John Ruskin. He explains: "When white is well managed, it ought to be strangely delicious,—tender as well as bright,—like inlaid mother of pearl, or white roses washed in milk. The eye ought to seek it for rest, brilliant though it may be; and to feel it as a space of strange, heavely paleness in the midst of the flushing of the colors. This effect you can only reach by general depth of middle tint, by absolutely refusing to allow any white to exist except where you need it, and by keeping the white itself subdued by grey, except at a few points of chief lustre.
"Secondly, you must make the black conspicuous. However small a point of black may be, it ought to catch the eye, otherwise your work is too heavy in the shadow. All the ordinary shadows should be of some colour,—never black, nor approaching black, they should be evidently and always of a luminous nature, and the black should look strange among them; never occuring except in a black object, or in small points indicative of intense shade in the very centre of masses of shadow. Shadows of absolutely negative grey, however, may be beautifully used with white, or with gold; but still through the black thus, in subdued strength, becomes spacious, it should always be conspicuous; the spectator should notice this grey neutrality with some wonder, and enjoy, all the more intensely on account of it, the gold colour and the white which it relieves" (The Elements of Drawing, 1857).
[Read the entire article in my guest blog at ColourLovers.com.]
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Original Colors: The Wonderful Wizard of Oz
Though it has been depicted countless times on stage and screen, the marvelous land of Oz has an original and quite inventive color palette. The genuine colors of the yellow brick road, the field of poppies, the Cowardly Lion’s mane, the flying monkeys, Toto, and the great Emerald City are preserved in the very first printing of The Wonderful Wizard of Oz (1900). That edition of the book is preserved in the Library of Congress Rare Book and Special Collections Division, available for on-line viewing with extraordinarily high quality scans. “The Wonderful Wizard of Oz was an innovative book not least because of the twenty four full color plates and myriad monochromatic illustrations in which the color changed according to the location in the story (Kansas = grey, Emerald City = green and so on). With the illustrative vignettes often encroaching on the text area, the type was cleverly printed over the top of the colored images” (BiblioOdyssey). Without further ado, here are the official colors of this beloved classic.
[Read the entire article in my guest blog at Colourlovers.com.]
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Diamonds in the RougeThough widely perceived as colorless, diamonds are infrequently achromatic and can occur in every hue of the rainbow. In fact, color is one of the four standards for judging the beauty and worth of a diamond (the others being carat, cut, and clarity). When it comes to diamond color, there are two seemingly contradictory principles: less is more, and more is more. The fewer impurities and flaws, the more transparent the diamond and the higher the value. Yet rare colors such as blue, green, pink, orange, and black are highly desirable and even museum-worthy. A faint straw yellow will detract from a diamond's value, while a deep yellow is prized. "White" diamonds are classified according to their degree of transparency. Most white diamonds actually contain yellow or brown tints. The Gemological Institute of America developed a scale of diamond color saturation, ranging from D (colorless) to Z (noticeable light yellow or brown). Diamond color is determined by comparing a gem to a master set. Special folded cards are also used to evaluate color. Dara Horn poetically describes how diamond color is influenced by context. Three diamonds that look identically transparent against deep black velvet reveal their differences when placed in the crease of white paper: "The first sat tarnished on the paper, throbbing a bruised and tawny color; the second glowed a dim yellow like a dying gas lamp in an old painting. The last one, exposed and revealed, blazed burning white." [Read the entire article in my guest blog at Colourlovers.com.]
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If Rainbows Were ArchitectureWhat happens when an eccentric architect has the soul of a painter? He drafts a technicolor blueprint and creates elaborate canvasses out of brick and mortar. Portmeirion, the celebrated Italianate village on the west coast of Wales, and famous location of the 60’s cult television series " The Prisoner,” was built by Sir Clough Williams-Ellis as a retirement project. The fairy-tale hamlet he created (30 years before Disneyland) is like a three-dimensional picture postcard exhibiting an unparalleled array of colors. Portmeirion is often cited as an example of "picturesque architecture.” Picturesque simply means that something is proper to be pictured. In the picture that is Portmeirion, foreground and background are the real ground of a rainbow we can walk through. [Read the entire article in my guest blog at Colourlovers.com.]
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Finally, someone has taken all the awkwardness out of spontaneous picnics!
A festive meal wherever you are! This prototype was conceived by Reddish Studio.
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The origin of pointillism?
Tim Knowles, Tree Drawing, Greek Pine on easel #1, Hydra, Greece, 2005. Full-size image available at rokebygallery.com. Via ffffound.
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A cartoon on the value of fairy tales, from the Jan. 8, 1919 issue of Punch. The caption reads: Poor Old Woman (to youth, who has given her a gratuity and relieved her of her load of wood): "I PRESUME, MY KIND YOUNG FRIEND, THAT YOU ARE THE YOUNGEST OF THE THREE BROTHERS WHO ARE GOING OUT TO SEEK THEIR FORTUNES?"
Clever Youth: "NO, I'M THE ELDEST. BUT I'VE BEEN READING THE STORIES."
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Theory: the Pac-Man video game was inspired by a lily pond. The lily pads, with their triangular missing pieces pointing toward colorful flowers, inspired the munching mouth who chases ghosts. When we flip Pac-Man art upside down, the ghost resembles a water lily blossom.
A detail of a lily pad photo from 53x.org.
A rotated detail of Pac-Man art, via.
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