RGB is best for websites and digital communications, while CMYK is better for print materials. Most design fields recognize RGB as the primary colors, while CMYK is a subtractive model of color.
RGB is an additive color model, while CMYK is subtractive. RGB uses white as a combination of all primary colors and black as the absence of light. CMYK, on the other hand, uses white as the natural color of the print background and black as a combination of colored inks. Graphic designers and print providers use the RGB color model for any type of media that transmits light, such as computer screens. RGB is ideal for digital media designs because these mediums emit color as red, green, or blue light.
With the RGB color model, pixels on a digital monitor are – if viewed with a magnifying glass – all one of three colors: red, green, or blue. The white light emitted through the screen blends the three colors on the eye’s retina to create a wide range of other perceived colors. With RGB, the more color beams the device emits, the closer the color gets to white. Not emitting any beams, however, leads to the color black. This is the opposite of how CYMK works.
CYMK is best for print materials because print mediums use colored inks for messaging. CMYK subtracts colors from natural white light and turns them into pigments or dyes. Printers then put these pigments onto paper in tiny cyan, magenta, yellow, and black dots – spread out or close together to create the desired colors. With CYMK, the more colored ink placed on a page, the closer the color gets to black. Subtracting cyan, magenta, yellow, and black inks create white – or the original color of the paper or background. RGB color values range from 0 to 255, while CMYK ranges from 0-100%.
“Clothes aren’t going to change the world. The women who wear them are.”
– Anne Klein
Clothing is often used to define the wearer’s social class, their politics and indeed, their very view of the world. Traditional dress helps form a nation’s identity as well as furthers its heritage.
In this instance, we explore how two indigenous cultures adapted (or didn’t) to Western influences, political change and the environment.
The Mola or Molas is a hand-made textile that forms part of the traditional women’s clothing of the indigenous Guna people from Panamá. Their clothing includes a patterned wrapped skirt (saburet), a red and yellow headscarf (musue), arm and leg beads (wini), a gold nose ring (olasu) and earrings in addition to the mola blouse (dulemor).[1] Two groups, Choco and Cuna lived side by side without intermarriage and without adopting a similar culture.[2] In Dulegaya, the Guna’s native language, “mola” means “shirt” or “clothing”. The mola originated with the tradition of Guna women painting their bodies with geometric designs, using available natural colors; at a certain point, after the arrival of the Spanish, these same designs were woven in cotton, and later still, sewn using cloth “acquired by trade from the ships that came to barter for coconuts during the 19th century”.[3][4]
history
A Guna woman displays a selection of molas for sale at her home in the San Blas Islands.
Molas may have their origin in body painting. In 1514, Pasqual de Andagoya, arrived in Darian and wrote.. the women are very well dressed, in embroidered cotton mantles which extend down so as to cover their feet, but the arms and bosom are uncovered.”[5] They did not wear blouses even in 1688 until they had been introduced by the missionaries.
Only after colonization by the Spanish and contact with missionaries did the Guna start to transfer their traditional geometric designs on fabric, first by painting directly on the fabric and later by using the technique of reverse appliqué. It is not agreed when this technique was first used. It seems to have been popular in the second half of the nineteenth century.[6] In 1924, Lady Brown refers to the dress of the medicine man/ Kantules as “dressed up the knees in long covered with cabalistic characters…all worked into, or let into, the cloth in a form of patchwork.”[7]
As an inspiration for their designs, the Guna first used the geometrical patterns which have been used for body painting before. In the past, they have also depicted realistic and abstract designs of flowers, sea animals and birds, and popular culture.
Depending on the tradition of each island, Guna women or men who identify as women begin the crafting of molas either after they reach puberty, or at a much younger age. Women who prefer to dress in western style are in the minority as well as in the communities in Panama City.
technique
Molas are hand-made using a reverse appliqué technique. Several layers (usually two to seven) of different-colored cloth (usually cotton) are sewn together; the design is then formed by cutting away parts of each layer. The edges of the layers are then turned under and sewn down. Often, the stitches are nearly invisible. This is achieved by using a thread the same color as the layer being sewn, sewing blind stitches, and sewing tiny stitches. The finest molas have extremely fine stitching, made using tiny needles.
This closeup of a mola by Venancio Restrepo shows the layering of the different colors of cloth, and the fine stitching involved.
The largest pattern is typically cut from the top layer, and progressively smaller patterns from each subsequent layer, thus revealing the colors beneath in successive layers. This basic scheme can be varied by cutting through multiple layers at once, hence varying the sequence of colours; some molas also incorporate patches of contrasting colours, included in the design at certain points to introduce additional variations of color.[8]
Molas vary greatly in quality, and the pricing to buyers varies accordingly. A greater number of layers is generally a sign of higher quality; two-layer molas are common, but examples with four or more layers will demand a better price. The quality of stitching is also a factor, with the stitching on the best molas being close to invisible. Although some molas rely on embroidery to enhance the design, a good looking mola is always constructed using the reverse-appliqué method as the leading technique.[1] A mola can take from two weeks to six months to make, depending on the complexity
cultural, social and political influences
In 1919, the panamanian government began a policy of forced assimilation banning mola’s dress and nose piercing in women. The government introduced these laws to Westernize Guna society and assert control.[13]
There was a strong link between traditional dress and Guna culture and identity. Molas have such an importance for the Guna people and their traditional identity that they can be considered responsible for the independent status of the Comarca Kuna Yala.[14]
After the attempt of the Panamanian government to “westernize” the Guna, the Guna greatly objected to the control on their cultural dress, and ethnic identity, and showed great strength in their reaction to the bans implemented by the government, leading to the Guna Revolution.[13]
In 1925 for three years following the revolution, women were required to once again adopt traditional dress as a form of rebellion against the government. Women on Nargana and other more progressive islands were forced to wear mola, even if they had never worn this traditional dress, and their noses had to be pierced by force.[13]
Textiles say so much about the culture in which they are worn and used.
Clothing can immediately identify who we are and what our history is. One can tell eastern v. western, wealthy v. impoverished, northern v southern. Clothing also tells us about the society that created it.
Sashiko emerged through necessity, particularly in poor rural areas, during the Edo period. “Cotton came late to the north of Japan,” explains craft and design writer Katie Treggiden. “So the only way people could get hold of it was as tiny rags of fabrics, that were either passed around or bought from tradesmen from the south. Sashiko – literally, ‘little stabs’ – was a way of connecting all those little pieces into a quilted fabric, known as boro, that would keep them warm.”
The Surprising History of the Kimono
The first ancestor of the kimono was born in the Heian period (794-1192). Straight cuts of fabric were sewn together to create a garment that fit every sort of body shape. It was easy to wear and infinitely adaptable. By the Edo period (1603-1868) it had evolved into a unisex outer garment called kosode. Literally meaning “small sleeves,” the kosode was characterized by smaller armholes. It was only from the Meiji period (1868-1912) onwards that the garment was called kimono. This last transformation, from the Edo era to modern Japan, is fascinating.
In the early 1600s, First Shogun Tokugawa unified Japan into a feudal shogunate. Edo, renamed Tokyo in 1868, now became Japan’s chief city. The resulting Edo Period (also called the Tokugawa Era) spanned 264 years. The years 1603 to 1868 are known as the last era of traditional Japan. Japanese culture developed with almost no foreign influence during this time. And the kosode was one of the key elements of what it meant to be Japanese.
Dynamite with a laser beam. This color is a bastard. Stone cold.
Violet is the color of light at the short wavelength end of the visible spectrum, between blue and invisible ultraviolet. It is one of the seven colors that Isaac Newton labeled when dividing the spectrum of visible light in 1672. Violet light has a wavelength between approximately 380 and 435 nanometers.[2] The color’s name is derived from the violet flower.[3][4]
In the RGB color model used in computer and television screens, violet is produced by mixing red and blue light, with more blue than red. In the RYB color model historically used by painters, violet is created with a combination of red and blue pigments and is located between blue and purple on the color wheel. In the CMYK color model used in printing, violet is created with a combination of magenta and cyan pigments, with more magenta than cyan. On the RGB/CMY(K) color wheel, violet is located between blue and magenta.
Violet is closely associated with purple. In optics, violet is a spectral color (referring to the color of different single wavelengths of light), whereas purple is the color of various combinations of red and blue (or violet) light,[5][6] some of which humans perceive as similar to violet. In common usage, both terms are used to refer to a variety of colors between blue and red in hue.[7][8][9]
Violet has a long history of association with royalty, originally because Tyrian purple dye was extremely expensive in antiquity.[10] The emperors of Rome wore purple togas, as did the Byzantine emperors. During the Middle Ages, violet was worn by bishops and university professors and was often used in art as the color of the robes of the Virgin Mary.[11] In Chinese painting, the color violet represents the “unity transcending the duality of Yin and yang” and “the ultimate harmony of the universe“.[12] In New Age thinking, purple and/or violet is associated with the crown chakra.[13] One European study suggests that violet is the color people most often associate with extravagance, individualism, vanity and ambiguity.[14]
fun ultraviolet fact:
Animals can see ultraviolet light?
Okay, fine, mammals can have UV vision, but only small ones like rodents and bats. Not so: In the 2010s, Glen Jeffery found that reindeer, dogs, cats, pigs, cows, ferrets, and many other mammals can detect UV with their short blue cones
This is a tricky color to define. Not quite purple. Definitely neither red nor magenta which, by the way, does not exist outside of The Rocky Horror Picture Show‘s cast members.
One of the most fascinating aspects of magenta is the debate over its actual existence. The human brain perceives different wavelengths of light as different colors, but because magenta doesn’t have its own wavelength, some argue that the color is made up.
Indigo dye is an organic compound with a distinctive blue color. Indigo is a natural dye extracted from the leaves of some plants of the Indigofera genus, in particular Indigofera tinctoria; dye-bearing Indigofera plants were commonly grown and used throughout the world, in Asia in particular, as an important crop, with the production of indigo dyestuff economically important due to the historical rarity of other blue dyestuffs.
Most indigo dye produced today is synthetic, constituting several thousand tons each year. It is most commonly associated with the production of denim cloth and blue jeans, where its properties allow for effects such as stone washing and acid washing to be applied quickly.
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