The last couple of years we've seen a major growth in the number of paint brands that offer color visualizer tools. Colors sell. And pictures of color sell even more. Most major brands have been offering ways to virtually paint a house for a while now. They are often in the second or even of third generation of software. But now the mid-size and smaller brands are catching up. There's a growing offering of generic tools such as our own Colorjive Lite that can be configured for a specific brand.
Moreover, our statistics show that generally per brand there's a substantial growth in the number of visualizer users. And some brands even show exponential growth. Though the success appears to depend on the way a visualizer is embedded in the visitor's journey. Obviously, a visualizer should pop up at the right place at the right moment and should be accessible without much hurdles.
The old saying, 'a picture is worth a thousand words', seems more relevant than ever. Brands keep investing heavily in visual communication, online as well as in shops. Which stands to reason: a strong picture draws a lot more attention than text. People have a stronger memory for images and imagery is quicker to convey a mood or feeling. As a result, images can be a strong boost for sales.
(Photo by Janssem Cardoso)
Peter Zimmermann, a renowned German artist, has radically transformed the floor of a museum into a monumental and immersive walk-in.
The floor is now a hallucinating colored canvas of 425 m2, which weaves through the building in abstract, fluid shapes. Being in the museum you become part of the art by simply sitting, standing or walking around. The colors of the epoxy floor play with the colors of the paintings on the wall, as well as with the door openings and spaces.
See more images here.
If you're interested: the exhibition runs till june 19th 2016 at the Städische Museen in Freiburg Germany.
The Happy Yellow house of Dan Trachtman in Takoma Park
“It [color] makes people happy, like listening to music. It makes them feel good,” says architect Suzane Reatig, who designed 625 Rhode Island Ave. NW. The long, low apartment building is clad in deep gray siding accented with orange, red and magenta panels. None of it is painted, Reatig explains, but is a colorfast, weather-resistant, durable (and pricey) Dutch construction material called Trespa. “We like our buildings to last a long time,” she says.
And that's not the only Dutch color in DC. When landscape designer Nicolien Van Schouwen and her family moved to their Takoma Park cottage, they had the red brick painted white. For contrast, the shutters got dramatic red harlequin diamonds, while the porch pillars and front door became solid scarlet. But during a trip to her native Netherlands, founded by William of Orange in the 16th century, she decided to celebrate her roots by changing the reds to orange, trimmed in deep teal. “Kids would stop and say, ‘I love the colors.’ The adults would say, ‘very interesting,’ which is polite American for ‘I would never do that.’ ”
Nicolien Van Schouwen's home in Takoma Park.
Think pink is only for little kids' bedrooms? Think again!
The most unusual colors from Harvard's storied pigment library include beetle extracts, poisonous metals, and human mummies.
Today, every color imaginable is at your fingertips. You can peruse paint swatches at hardware stores, flip through Pantone books, and fuss with the color finder that comes with most computer programs, until achieving the hue of your heart's desire. But rewind to a few centuries ago and finding that one specific color might have meant trekking to a single mineral deposit in remote Afghanistan—as was the case with lapis lazuli, a rock prized for its brilliant blue hue, which made it more valuable than gold in medieval times.
The history of pigments goes back to prehistoric times, but much of what we know about how they relate to the art world comes from Edward Forbes, a historian and director of the Fogg Art Museum at Harvard University from 1909 to 1944. Considered the father of art conservation in the United States, Forbes traveled around the world amassing pigments in order to authenticate classical Italian paintings. Over the years, the Forbes Pigment Collection—as his collection came to be known—grew to more than 2,500 different specimens, each with its own layered backstory on its origin, production, and use.
Read more on Fastcompany.
At major museums around the world, color experts train their discerning eye on the walls behind the artwork.
White walls may reign supreme at art galleries, but at major art museums, colored walls are standard practice. And while you might be hard-pressed to remember what color the walls were at the last museum you visited, that forgettable hue was the result of months of consultation, deliberation, color mixing, and testing.
Who chooses these carefully crafted colors? The task typically falls to the show's curator, who in turn consults with the expert colorists at a paint company to choose the perfect shade to serve as a backdrop to some of the most famous artworks of all time. Sometimes, they even create the color from scratch.
Read more on Fastcompany.