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A thing that can be good to keep in mind when making colour selections is colour blindness. Some 8% of the population has some form of colour blindness, and by choosing the wrong colours you can make your page virtually unreadable for them. There are some colours which are worse than others, for instance red and green. Blues and yellows are usually better to use for this reason, and you should make sure that there is a strong contrast between a text and its background. Also, make your design so that colour is not the only visual cue.
Are you about to give up? Just can't find the right colours for your home Well, here is the solution for you! Just Spin the colour wheel and get a selection of three random colours. The colour wheel randomize between some 16 million colours. And with three different colours that gives endless combinations. (or 2 to the power of 70 or so, which is a very large number). Enough to keep anyone busy for a while.
So, after all we have talked about regarding the importance of colours I am just going to let fate do the selecting for me? No, not really, unless you decide to go with the very first colour combination you get no matter what it looks like. Just spin till you get colours you are happy with.
You will probably be surprised how often you will get combinations that look very pleasing to the eye.
I think the good part about this approach as opposed to sit down to think about what colours to use is that you never know what is going to show up. And you might find a good colour combination that you had never even thought about otherwise.
Just keep in mind that the colours are seen against a white background, and that they are just small areas. The perception of a colour can change quite a bit once you have it covering all of your screen.
Good luck in your hunt for the perfect colours, and happy "spinning!"
Paintings are made from mud and a stick with hairs...
Pigments are the basis of all paints, and have been used for millennia. They are ground colored material. Early pigments were simply as ground earth or clay, and were made into paint with spit or fat. Modern pigments are often sophisticated masterpieces of chemical engineering.
This exhibit includes most important pigments used through the early 20th century.
In a microscope, we see that paintings and other painted objects consist simply of pigments suspended in a substance -- like chips in a chocolate chip cookie. The "substance" can vary, from oil or egg yolk in paintings, to plaster in frescos, or sophisticated plastics in automobile finishes. Moreover there are many interesting relationships between pigments (the focus of this exhibit) and dyes, and even with the "visual pigments" found in our own eyes.
Just as orange is red brought nearer to humanity by yellow, so violet is red withdrawn from humanity by blue. But the red in violet must be cold, for the spiritual need does not allow of a mixture of warm red with cold blue. Violett is therefore both in the physical and spiritual sense a cooled red. It is consequently rather sad and ailing. It is worn by old women, and in China as a sign of mourning. In music it is an English horn, or the deep notes of wood instruments (e.g. a bassoon).
Blue is the color of sky and water. The blue of water - the color of depth - impersonates the female principle. Blue of the skies used to be associated with the male principle. It is the color of all heavenly gods and stands for distance, for the divine, for the spiritual (voiced particularly by W. Kandinsky). This interpretation goes back to ancient Egyptians and was taken on by later cultures. Skin of Egyptian god Amun was rendered blue.
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