Posts tagged ‘colour’

September 10, 2012

MOHAIR 2013/14

Lidewij Edelkoort has just presented her new 2013/14 forecast for Mohair South Africa at Maison & Objet in Paris. for a full report and to download the Colour Forecast go to Trendtablet Mohair 3 A forecast of deep hues for the nomadic interiora sandy neutral, cumin green, camel brown and an important new henna. Bright accents such as Jaffa orange, Persian saffron, mustard green and turquoise blue will show how intense mohair’s saturation can become, contrasted by jet black and slate grey.

“This year’s stand is inspired by the travelling tribes: Nomadism animates a timeworn style that is faded by age, crafted by hand and coloured by beautiful dyes. This roaming spirit is now reflected by our flexible and wireless existence today and a revived interest in living closer to the floor; a yearning for natural materials like straw, clay, wood and flax, but also animal fibres such as mohair collected from the noble Angora goat.”


February 18, 2012

The man who hears colour

“Artist Neil Harbisson is completely colour-blind. Here, he explains how a camera attached to his head allows him to hear colour.

Until I was 11, I didn’t know I could only see in shades of grey. I thought I could see colours but that I was confusing them.

When I was diagnosed with achromatopsia [a rare vision disorder], it was a bit of a shock but at least we knew what was wrong. Doctors said it was impossible to cure.

When I was 16, I decided to study art. I told my tutor I could only see in black and white, and his first reaction was, “What the hell are you doing here then?” I told him I really wanted to understand what colour was.

I was allowed to do the entire art course in greyscale – only using black and white. I did very figurative art, trying to reproduce what I could see so that people could compare how my vision was to what they saw. I also learnt that through history, there have been many people who have related colour to sound.”

… “But my favourite colour is aubergine. It looks black but it is actually violet or purple, and it sounds very high-pitched.”

Neil Harbisson spoke to Outlook on the BBC World Service. Listen to the programme here.

for the full story go to  BBC News – The man who hears colour.

May 18, 2011

The Cool Hunter – The Power of Color

The Power of Color

“Black and white are the safe choices in the design world. The color of luxury is elegant and subdued. Yet, at the same time, even top-tier designers, artists and luxury brands have always used bright colors as well. It is not about either or. It is not black-and-white or color.”

via The Cool Hunter – The Power of Color.

March 22, 2011

HBL Pattern & Colour Inspiration: Sally Angharad

Huddersfield University MA Graduate Sally Angharad features on the blog –  global trend forecasting service and product development tool focused on the ever-evolving needs of the home and interiors industries.

MA graduate Sally Angharad has launched a new collection of bespoke paper designs that take inspiration from the weathered finishes, aged surfaces and colours of Venice.

These unique tactile wall hangings are created from sourced papers which are then printed with delicate patterns. Sally uniquely manipulates and distresses them by hand and arranges them into layers, simulating peeling paint and billboard posters. The layers of paper are sensitively arranged, creating an inspiring palette that plays with combinations of pattern and proportions of colour.

from WGSN Home buildlife

March 4, 2011

CultureLab: Colour me beautiful: Wellcome Image Awards winners

CultureLab: Colour me beautiful: Wellcome Image Awards winners.

“I want a scarf that looks like that.” So remarked one member of the New Scientist art department upon seeing the micrograph of cell division (above) that received a special honour at this year’s Wellcome Image Awards. see the full story and beautiful images via the link above.



December 9, 2010

Announcing the Color of the Year for 2011: PANTONE® 18-2120 Honeysuckle, a Vibrant, Energetic Hue

Pantone HoneysuckleA Color for All SeasonsCourageous. Confident. Vital. A brave new color, for a brave new world. Let the bold spirit of Honeysuckle infuse you, lift you and carry you through the year. It’s a color for every day – with nothing “everyday” about it.While the 2010 color of the year, PANTONE 15-5519 Turquoise, served as an escape for many, Honeysuckle emboldens us to face everyday troubles with verve and vigor. A dynamic reddish pink, Honeysuckle is encouraging and uplifting. It elevates our psyche beyond escape, instilling the confidence, courage and spirit to meet the exhaustive challenges that have become part of everyday life.“In times of stress, we need something to lift our spirits. Honeysuckle is a captivating, stimulating color that gets the adrenaline going – perfect to ward off the blues,” explains Leatrice Eiseman, executive director of the Pantone Color Institute®. “Honeysuckle derives its positive qualities from a powerful bond to its mother color red, the most physical, viscerally alive hue in the spectrum.”Eiseman continues, “The intensity of this festive reddish pink allures and engages. In fact, this color, not the sweet fragrance of the flower blossoms for which it was named, is what attracts hummingbirds to nectar. Honeysuckle may also bring a wave of nostalgia for its associated delicious scent reminiscent of the carefree days of spring and summer.”….Read on @ Fashion + Home – Announcing the Color of the Year for 2011: PANTONE® 18-2120 Honeysuckle, a Vibrant, Energetic Hue.

PANTONE Color of the Year 2011 can be found in the following PANTONE Color Systems:

fashion + home: 18-2120 TCX or 18-2120 TPX
fashion + home CMYK:
4 75 24 0
PLUS SERIES: 205 U (closest match)
0 86 16 0
203 101 134
Goe™ System: 26-2-4
Plastics: Q190-3-1

Download the PANTONE 18-2120 Honeysuckle press release here.

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October 16, 2010

Premier Vision Report from a craft point of view AW11/12

One craft lecturers personal view of Premier Vision

Please find below my rambling report and thoughts on those things I saw at Premier Vision, Sept 2010.
PV / Indigo: Sept 2010 report, Nicola Perren.

Please find below an overview of my observations from trend shows (I always find strange as they are basically a round up of what is already in full manufacturing process! Still it is an overview of the work that sits on the edge / forefront of production). It was, as ever, inspiring not only to see the work but to have ‘textiles is a huge industry’ blast you in the face – and only a representation of those who can afford and are focused at the fashion industry.

It was busy but I found every stand I visited, accommodating, welcoming and openly pleased to discuss modes of practice, the state of the business and to hear that we have students from a variety of courses who I feel have something new to bring.I am rounding it up in our key specialism’s but I did find that some idea’s crossed all area’s and will just repeat those. My text is a round up of words that came to mind / open dialogue rather than wonderful prose…. (sometimes I also mention a craft student name – can point them out in catalogue if you do not know their work).Please excuse any dreadful misuse of terminology…


key words:Doubled up (double cloth, two sided, multi process)Timeless (chanel, fine (oriental) paisleys, liberties in scale of pattern)Chain effect (open weaves, grids (structurally), lace)Faking it (printed knit structures, embroidered lace effects, embroidered dogtooth check effects, printed embroidery, printed water drip marks!)Tame Laura Dowey – but subtler (all mixed up: plaids with florals, thickly printed process on fancy wovens, oriental fights paisley)

COLOUR (from prediction forum):Night time (rich, space, silky, velvety)Foody (olives, satay, smoked tea, cookie, quince)Landscape (leaden horizons, ambiguous landscape, full bodied coldness)
Overview – fullness, roundness, rigorous, elegant, warm, desirable, nourishing.
KNIT.Fairly plain but when there was something else it tended to have an ornamental feel – usually through cabling (hand knit) in a mid chunky state, nothing overtly chunky / oversized. Jersey fabic to die for in terms of touch, it felt soft, luxurious but not at all synthetic, raw silk feel (slightly dirty?!). Design studios a plenty had knit with an emphasis on small scale patterns (sorry but my knowledge is limited in terms but could point out a picture!), hand knit cables and crochet. The crochet tended to be used as on overlay on plain woven cloth – adding surface textures.Mohair / fluffy surfaces but the BIG thing (everywhere) was lace from sophisticated beauty – vintage fine to quite simple and open (knitted open squares). There was some interesting mixes – knitted laces cut into strips and stitched onto knitted laces – DOUBLES.What was missing (across the board) was the 80’s, this may be translated differently by the fashion designers but it was not clearly evident in the textiles or colouring. If anything it almost felt timeless, moving towards classic, vintage in process but not the ‘vintage’ look (no tea staining!).There was a lot of knit presented in Indigo by british companies, but my observation was that what was being shown in there was not in PV itself – possibly be there next year but not too convinced of that. Possibly these knit design are manufactured in process’s that avoid shows such as PV – i.e. out sourcing, home industries? Chris / Ruth could answer this I’m sure.Over all, on the knit front – v. positive, lively, real.

EMBROIDERY.Kirsty Lyle!! Just think our Kirsty – not sure if this is really going to work, but somehow…– certain pieces were clear – architectural process (not sure of name – couching?), black on white!Quite a lot of quilting (but not in V&A exhibition way) but two fabrics stitched together with wadding in middle. Various play’s on this – double sided: leather / fur, nylon / felt, also – stitching that holds it together was done in an ornamental manner with a wool / mohair which was subsequently felted resulting in felted overlays on sporty / crisp nylons – interesting and quite a bit of it in forums.Overscale broderie anglaise, cross stitch effects – small stitches building up a large scale repeat. Stitched lace look.Woven bases – worsteds, felts, moiré effects, velvet, voile, netting.Sequins – heavy application but then with chunky over hand stitch, patched sequins on fake furs which are then printed on.Giant home made sequins – foam discs with patent surfaces – glued onto cloth – not stitched.

PRINT.So so so soft, sumptuous, melting, INKY, rich (but soft), old tattoos, bleeding, brush marks, fluid – stunning. There did not seem to be edges as such, bleeding, water drips, ink applied to wet cloth – think star steamer gone wrong with an impatient hand painter…. but the effects were quite breath taking and EVERYWHERE.The print seemed on the surface – not saturated (double sided effect?), not much devere but I did see a few pieces that used a students technique of ours who was selected for texprint a few years ago (name avoids me) – a new technique apparently where the print remains in the devore’d parts – devore was structured chunky stripes with small floral prints.Printing onto silks, voiles, velvets, obvious weaves (!) – (chanel and paul smith types).If there was a vibe at all it was mainly apparent in print it was for 60’s / 70’s softness – oriental paisleys, Laura Ashley meets Liberties at some washed out hippy festival (?) – I can smell the campfire smoke and patchouli coming off them (faintly).
With regards to indigo there was once again so much print it made you giddy – to pick out anything in particular was impossible. What I did notice was the colour – it was intense, there was no time to breath / stop: it just seemed like a colour overload with pattern to be honest. There were some quieter places where it became very graphic and clean (Peagreen) alongside companies selling vintage samples from sample books (included a lot of weave).Animal prints (a la Robyn Lyndsay) – large scale but photographic (not hand drawn) – eagles, deer with big antlers – powerful, digitally printed and tones of grey. Power – not cute.

WEAVE.The least represented but maybe held the greatest changes / movement (possibly a personal opinion). There was little in Indigo (except Paul Vogel) but it was clearly evident in it’s use as alternate bases for printing / embroidery and crochet overlay.DOUBLE CLOTH madness, very clear differences in sides – nominated for virtually all the PV awards. From uber fine synthetics and silks to textured chanel derivatives and worked fur base cloth. Fur (tufted) was structured – carved / cut (embroidery technique whose name totally escapes me). Sheens in plain, nylon jacquards with wool and subsequently felted (pretty much only sign of jacquard).Dobby was king & queen: mohair plaids (quite open – reflecting similar moves in emb / knit), non twist – very thick – chunky extra’s, loop yarns – solid woven,.Oversized to medium dogtooth / houndstooth – cotton / fur combo’s – contrasting yarns.
– Finally – two more observations from indigo (probably mainly useful to crafts).

VINTAGE: Quite a few companies had developed a Vintage department in which they ranged from selling non altered 2nd hand clothes (!) to completely restructured mixed up garments with a contemporary feel, they were re-made, mixed with new textiles and felt quite fresh – it was the idea / concept that was being sold (thinking of a great ex student from Glasgow on crafts).

HAND PAINTED: Came across a few companies who focused on hand painted (non-repeating) prints – felt very raw and canvassy – but utilised a number of base materials from cotton, silk to linen and knitted jersey. Mainly Como, Italy based. – Quite refreshing in the sea of digital / transfer prints. Did find a company in London and another in New York (Japanese, very established – so anti computers does not have a web site! – music to the ears of some craft students).

September 29, 2010

eye | review ‘Poetry of colour’ review of Interaction of Color:

‘Poetry of colour’  review of Interaction of Color:

New and Complete Edition by Josef Albers by @robgiampietro in Eye75

“Poetry of colour

Interaction of Color: New and Complete Edition

By Josef Albers

Yale University Press, £150

Reviewed by Rob Giampietro

“There are two types of primary colours: additive and subtractive. The subtractive primaries (CMYK) are made of pigment and become darker when combined, while the additive primaries (RGB) are made of light and become brighter when combined. In this formulation, Yale University Press’s new expanded edition of Josef Albers’ Interaction of Color is distinctly additive, brightening the corners of this influential classic and broadening it to a two-volume slipcased set….]”

eye | review. the Eye website, an index of the quarterly print magazine for everyone involved in graphic design and visual culture

and don’t forget to take a peek at the EYE Magazine blog

March 12, 2010


color for Spring/Summer 2011
March 17 – PANTONE WEBINAR SERIES – 10:00 AM, 12:00PM or 3:00PM (EST) – Emphasize beauty through the use of color for Spring/Summer 2011. Presented by Laurie Pressman. Register for a session now by clicking the link below

Pantone Webinar

January 22, 2010

The End of the Rainbow? – colour meme

From Print

The End of the Rainbow?  by Jude Stewart

“Near the beginning of the move The Devil Wears Prada, Meryl Streep delivers a monologue to the young Anne Hathaway about how the “lumpy,” cerulean sweater that she “chose” was, in fact, chosen for her—by the various business interests who make their profits by choosing those very colors. But aren’t our color hungers more complex than that? We’re fed emotionally by certain colors, and then we surfeit on them, as if we’ve been eating the same vegetable for too long. And right now, one such meme has been ascendant for awhile now: what I like to call the iRainbow.

You know the one: a series of translucent lollipop colors crisply arrayed on a white background. It started its public climb with the Apple iMac, evoking a humming technological future where cleanness met creativity, work and play happily blurred, where the pot of gold wasn’t sequestered to the rainbow’s end but instead scintillated, coin by coin, throughout the entire arc. Instead of the jarring Crayola rainbow of childhood, this CMYK rainbow felt subtly balanced in its hues, democratic and inclusive,”.…… read the full article  here

Cover of The Visual Miscellaneum by David McCandless, founder of

Web Trends Map v4.0 by Information Architects, 2004

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