As companies like Crayola dream up more inventive and brandable colors for their crayons like “inchworm” or “mango tango,” a young designer duo from Japan created this alternative way of exploring colors by doing away with names altogether. Nameless Paints are a set of 10 paint tubes designed by Yusuke Imai and Ayami Moteki that replace more familiar color names (which can be a tad more ambiguous, see: “jazzbery jam!”) with visual depictions of the primary colors magenta, yellow, and cyan mixed inside. The visual labeling system also relies on proportion to depict more or less of different colors to create additional shades of green, orange, or blue.
“By not assigning names to the colors we want to expand the definition of what a color can be, and the various shades they can create by mixing them,” says Imai.
While using written names may ultimately prove more useful (and more fun) in the long run, Nameless Paints are a fun way to explore how color works. The design originally won a 2012 Kokuyo Design Award, and has undergone refinements over the last few years. The set finally go on sale in October of 2015 in Japan for roughly $15. (via Spoon & Tamago)
Lithuanian artist Agne Gintalaite has always been attracted to the “garage towns” of her native Lithuania—large areas filled with storage units for cars that were terribly inconvenient and often bus rides away from the owners’ homes. In her series Beauty Remains, Gintalaite explores the multitude of garage doors she has discovered on her explorations, the brightly colored wooden and metal doors that look as if time has tried to claw them to pieces, yet their vibrancy withstands each passing year.
Her project began after a recent trip to IKEA revealed a sprawling garage town near the megastore filled with hundreds of examples of these doors that outlasted the time when IKEAs were nowhere to be found. “By documenting these objects that are, most likely, about to disappear from Lithuanian society, I wished to communicate to the viewer the ambivalent, aesthetic, but also human significance of these garage doors,” said Gintalaite. “Beautifully painterly, these doors do not need be explained to the beholder. It is the fascinating play of colour and texture that I attempted to capture with my camera.”
In documenting these doors the artist also found herself documenting human dignity as the owners continue to hold onto their property in areas in which big businesses increasingly impede on the urban landscape. “As long as they last,” said Gintalaite, “this uncanny beauty remains.”
Gintalaite received her BA in Art History and Theory from Vilnius Academy of Arts in Lithuania, and is currently a freelance photographer and art director. You can find more of her work on her Tumblr and Behance. (via My Modern Met)
Produced as a part of The Connected Series, Hearing Colors, is a short film that explores the life of Neil Harbisson, a man who was born with achromatopsia that leaves 1 in 30,000 completely colorblind. Through an antenna-like object implanted into the back of his head, Harbisson is able to gain a comprehension of the colors around him by hearing distinct sounds.
Harbisson completely embraces the unusual technology and openly refers to himself as a cyborg. “I don’t feel that I am using technology. I don’t feel that I am wearing technology. I feel that I am technology,” Harbisson explains. “I feel no difference between the software and my brain.”
The five minute film, shot in black and white, gives the audience a sense of Harbisson’s artificially created one, letting us peer into how he sees humans, cities, and everyday life.
Hearing Colors was created by filmmaker Greg Brunkalla. You can see more of his films on his Vimeo page here. (via Swissmiss)
In light of current events, the latest collection film by filmmaking duo The Mercadantes (previously here and here). Beautifully done, great ending.
Tennessee-based photographer Emily Blincoe (previously) continues to create some of the most meticulously arranged collections of objects we’ve seen. From leaves and flowers to cereal and trash, the photographer is capable of making visually soothing layouts of almost any object. One of Blincoe’s latest projects is the Collection Collection featuring portraits of people laying down against their personal collections of things like rocks or figurines. You can follow her work on Instagram, and many of the images you see here are available as prints in her shop. (via Bored Panda)
SLOSH SAMPLES #1 2014 flubber, pva glue, acrylic, oil paint, resin plastics, polymer balls, polymer clay, pigment, water, varnish, 100ml serum vials, all photos by docQment
Louise Zhang's Slosh Samples look like floating paintings, three-dimensional depictions of 2D abstract work. The bottles contain brightly colored fluids that separate and congeal, containing everything from polymer clay to flubber. At first one is delighted by the bubblegum colors that fill the vessels, yet after a quick inspection the grotesque nature of what lurks inside is easily revealed.
Both Zhang’s sculptures and paintings happily represent blob-like forms and revolting textures. The work seems excited to repel its audience after it has seduced them with its saturated neon hues, a palette that could be described as cute or playful. Zhang’s website compares her playful works to childhood cartoons like Spongebob Squarepants or Ren and Stimpy—television shows that invite our minds to interact with slime, slop, and snot.
Zhang is a Sydney-based artist currently working on her MFA at UNSW Art & Design and partaking in a residency with Throwdown Press. The artist’s first solo exhibition Plomp was held at Artereal Gallery in 2014. Zhang has described her work as “evocative of confectionery—the gooey, the sticky, and the sensation of sweets melting,” which brings to mind the sweet and sugary installations of Pip & Pop. (via Zannaka)
SLOSH SAMPLES #2 2014 flubber, pva glue, acrylic, oil paint, resin plastics, polymer balls, polymer clay, pigment, water, varnish, 100ml serum vials
SLOSH SAMPLES #2 (details) 2014
In a departure from his large-scale color field yarn installations, Minnesota-based artist HOT TEA is back in New York and was given the opportunity to transform a swimming pool on Roosevelt Island with whatever colors he saw fit. Apparently he took the ambitious approach and decided to use them all, spread between 120 gallons of paint.
The private commission produced by K&CO and Pliskin Architecture is called Asylum, a title the artist chose “because the act of creating it pushed my mental and physical endurance so far that I wasn’t sure I could complete the task,” he shares with Brooklyn Street Art. For almost a century starting in 1839, the island was also home to the New York City Lunatic Asylum. The vibrantly luminous gradients that define the area around the pool contrast starkly when viewed against the rest of the surrounding landscape, creating a surprising oasis of color.
The pool, located in Manhattan Park, opens for swimming Memorial Day weekend. You can read a bit more about it on Brooklyn Street Art.
Photo by Jamie Rojo for Brooklyn Street Art
Photo by Jamie Rojo for Brooklyn Street Art