Following palettes from ImageMattersAsia.
Following palettes from ImageMattersAsia.
Click on the Control Panel in Windows 7. There are some colours to choose from to adjust the windows’ glas. A new feature, I think. Managing a control by moving it forwards and backwards, you can see the color basr below changing from light grey on the far left to a bright version of chosen color on the far right. In between the colors make a exciting journey through the seasonal palettes.
Original colors for the” glasses of the windows” s are as follows:
I present the hues as named in Swedish, translate back to English, although I have no clue as to what the authentic English designations are.
First above left: Himmel (Sky in English)
Second: Skymning (Dusk?)
Third: Hav (Sea, or Ocean?)
Fourth: Löv (Leaves?)
Fifth: Gröngul (Yellow Green?)
Sixth: Sol (Sun?)
Seventh: Pumpa (Pumpkin?)
Eighth: Agat (Agath?)
Colours below are from left to right:
Mullvadsbrun (taupe brown)
As it seems fairly light and bright hues. But wait till you start moving the control. Then things really start to happen and you can follow the colors travelling through the Seasons.
Big disadvantage, though, that you cannot click on colors and paste them on this post. You are advised to find the colors for yourself on the control panel and try.
I will try to describe how the hues are changing.
We begin with the Sky Blue: Color strength for original color lies a bit to the left of the middle of the color changing track. To the left it is, as you can see it on the activity bar below, a light grey, then advancing through medium to somewhat darker, which in my apprehension turns thundercloud blue, still a bit grey. It is still muted, but as we continue, it starts to clear up to a clear summer sky brightening at the right end of the track.
So we have the Dusk? –Orignal color sits further to the right. It begins as a light bluish grey, becoming a muted thundercloud greyish blue toward the middle. Then loosing grey after midways, finally clearing up to a clear bright medium blue – as the Sky colour.
Now we take the Sea? color. Its original hue sits on the right outer edge. Very bright medium turquoise green. But at the left end it is a raincloud grey – unlike the thundercloud blues above – but, even here, the thunderstorm blues appear toward the middle, turning darker, then clearer, brightest at the end, a medium clear sky blue.
Color strenght of the color Leaves sits a bit to the left of the middle on the track. At the left end we see a light greytoned blue green, as a haze, as can be seen when rain seem to diffuse a far away pine forest. Far away, this is because when you stand on a place watching hills beyond hills beyond hills, then the nearest crest is distinct and clear in color, the ones beyond becoming paler and vaguer the further away they are. These faraway notes are for Summers, obviously. Now moving your focus to the hills more near, and the control towards the track’s middle, the pine green goes clearer Springs, and darker, still being muted (Autumns) , even before the middle, becoming a strong medium dark forest green (Autumns). Having passed the middle to a medium dark strong grassy green. And intensifies further to end as a bright medium golf course green, that red haireds can wear if they are stong coloured as this green contrasts well to their hair.
Green Yellow begins as hazy and light, as a heavy rain, observed through a windscreen of a car in August. A light, sickly sulphuric grey is emerging, which I associate with the headache you can obtain with an abundance of negatively charged iones in the air. Slowly this poring rain scarce visibility turns greener/browner, turning forest and olive, darkest midways, then lightening up, becoming a clear green like birch leafs in spring, brightest at right pole.
Sun: even this color happening takes its beginning in a medium rainy haze with a tone of yellow. Becoming brownish yellow, as a desert, golden, not reddish. After midways transforms and lightens into a honey colour with most sunlight toward the end.
Pumpkin: the raincloud haze should obviously have pumkin lurking somewhere, but hard to see. No raincloud grey anymore, but a thin translucent wash of peach/apricot= ”pumkin”.Stronger and clearer, it darkens to a clear desert sand, lit by the sun which seems to get oranger toward the end, creating a beautiful sunset glow.
Agath – originate in a translucent fair pink, having passed the pastel stage, continuing through warm pinks like clear salmon and muted vintage rose. Darkening to rose red, – real roses in mind- roses that turns more corally, brighter as it darkens, and reaches a genuin hue of red roses.
This painting named The Orchard (Fruktträdgården) The Orchard – Oil On Canvas – by Franz Dvorak (1862-1927) – c. 1912
(French landscape painter, who? Jean Marc Janiaczyk.
Like Iridiscent Summer by David Zyla.
Young Scholar painted by Jean-Honoré Fragonard (1732-1806)
There is a certain difference between Autumn that is not emphasized enough in colour analyses theory. The theory of CMB (Colour Me Beautiful) claims three different Autumns: Soft, Warm and Dark. But there is another dividing line, i.e. between Autumns with gentle and satin colours and those with bold and matte colours. I guess you can say the rich, mellow and satiny hues are for Soft Autumn whereas the bold and matte ones are for Warms ditos. Gentle and satiny colours could look good on a Warm Spring, too. But Warm Autumns are not always bold in their colour language. So also Warm Spring who has both meeker hues and clear ones.
According to CMB’s twelve subvariants theory the seasons are flowing into each other. Warm spring to Warm Autumn, Cold Summer to Cold Winter, etc. I think, they also flow into each other in the order they follow. So Clear Spring flowing into Warm Spring etc. Clear Spring can also flow into Light Spring, which flow into Light Summer. So, the Warm Springs do not flow into Warm Autumn alone, but has many colours in common with the Soft Autumn as well.
This palette is thought to be compared to the Pale Country Garden palette, but it’s not pale but rather more rich and luscious medium clear colours.
My Oriental Tapestry palette can be worn by Cold and Soft Summers (lighter part of the scale) and Cold Winters (darker part of scale) Reminding of a style popular with farmers in beginning of 19th century and comprising colours like English red – a medium dark, matte red, black and white. Like this oriental mat. And folklore from the 1800s:
The Pale Cottage Garden colours are reserved for Summers, who are cool and light, but not as crispy as the Lemon Drop Summer.
Some pictures from fashion catalogues may represent this palette.
Pale Cottage Garden versus Lemon Drop.
My designed palette Lemon Drop Summer (Syrlig Sommar) – think of sour bonbons to compose this colour scale.
Look at the bakground colour: