Tag Archives: Color

Court: Cops can’t Stop Drivers Based on the Color of their Cars

9 Jul

Good news for the sports car drivers!  My guess is that it won’t take long for this case to lead to a finding that Cops can’t stop drivers based on the make of their car either.  So that Red Mustang won’t be quite as likely to get you pulled over 🙂  **DB


Court: Cops can’t Stop Drivers Based on the Color of their Cars

By Justin Hyde via “Yahoo News

Photo illustration: Yahoo Autos

“Probable cause” has long been one of those terms that made the jump from legal jargon to household term, especially with regards to drivers who get pulled over. The struggle over what that allows on American roads — and what it doesn’t — took a new turn last week with a Florida ruling that threw out a conviction stemming from a police officer who found something wrong with the color of a car.

In 2010, a deputy in Florida’s Escambia County saw one Kendrick Van Teamer drive by in a bright green Chevrolet. The deputy ran his plates, and found the registration matched a blue Chevrolet. There were no warrants out for Teamer, no reports of stolen vehicles and no pending crimes that involved either a blue or green Chevy. Teamer also wasn’t violating any traffic laws.

But the deputy pulled Teamer over anyway, simply because of the mismatch of the car’s color. Teamer said the car had been recently painted, which was true. It also contained small amounts of cocaine, marijuana and $1,100 in cash. Teamer was charged with drug trafficking and possession, convicted and sentenced to six years in prison.

Teamer appealed, and last week as noted by The Newspaper, the Florida Supreme Court ordered him freed on a 5-2 decision, upholding a lower appeals court ruling that the deputy was wrong to stop Teamer simply becuase the color of his car didn’t match its registration. The court noted that in numerous U.S. Supreme Court rulings, justices have found police can’t pull someone over for everday behavior that’s not linked to a crime, saying Teamer’s stop was not different from those triggered by the race of the driver: . . . .



Cool Link: Kuler by Adobe

5 Apr

Confession: I am addicted to changing colors, styles, themes, and fonts on stuff.  Powerpoints are my favorite things ever, purely because it promotes playing with the appearance of your product.  

For fellow amateur designers, I wanted to tell you about the amazing thing that is Adobe’s site ‘Kuler.”  The professionals already know about it, because it is pretty much the best-thing-since-sliced-bread invention of web designing.  

The way it works is you pick a base color you particularly are interested in, and it gives you at least four other colors that it would go with.  For example, you can chose from “monochrome” and it gives you varieties of the same shade.  Ask for “complementary,” it pulls from opposite sides of the color wheel to make your swatch.   Here is an example from the “pink” I had chosen as my base (“cf135e”)













There are even a ton of sample swatches for you to start with or choose from!


You don’t even have to know your base color at the beginning; just drag the circles around the color wheel until you find a color. The nice part about this is that it gives you both the HEX code (#000000) and the RGB code.  I’m just upset that WordPress.com doesn’t let you use the codes anymore, instead you are limited to the first color samples.  But, it still works with Tumblr! 🙂


Jackson Pollock

14 Mar

As you know from my previous article, the art world is abuzz with the unveiling of the newly restored Pollock “Mural” — the great “pillar of American art.”  Although I have studied art, I was actually unfamiliar with Pollock’s work until I entered the University of Iowa who owns the Mural.   Admittedly, I am not a large follower of the Abstract movement, but the debate over his work s fascinating.

His parents were from Iowa (hence the fortuitous circumstance of his great art returning here), but Jackson Pollock (first name Paul), was born in 1912, two years before WWI,  in a small town in Wyoming.  He would move around the western states as a child, and it was during that time that he became familiar with the Native American culture on travels with his father; a fact that you can still see expressed in his art.  

Another great influence upon his style was his tutoring from Thomas Hart Benton, part of the famous “Regionalist Triumvirate” of three artists who abandoned city life and preferred painting modern works of rural life.  

“Poker Night” by Benton

But while Pollock liked the brighter colors and strong impression of this type of art, he was not enticed by rural subjects. In fact, he would abandon any sense of “Realism” to his work at all.  With the beginning of his style set in place, Pollock moved on during the Great Depression to work with the Federal Arts Project, part of Roosevelt’s New Deal.  They employed jobless-artists to create works for government institutions–as a results many of them still hang in those buildings today.  Because the program was less interested in the type of art, and more interested in employing artists regardless, it was a great sounding board for many artists of the, at that time, less popular modern abstract art.  Pollock was one of those artists who benefited from the new audience.    

During the Great Depression, Pollock began struggling with alcohol, and he would undergo treatment under a Jungian Psychologist. While I am hardly a psychologist, I understand that they emphasized the need to understand oneself completely before one could then work with society.  One of the ways Pollock tried to familiarize himself with his personality, goals, life, etc. was through art. According to textbooks, this concept of putting oneself into the work (a type of new self-portrait) was characteristic of his later works.  Honestly, I have never particularly been able to see that in his works, but then I don’t really get abstract art anyway.  What I can attest to is that his emotion’s come across–and a scattered mess they were too.

Shortly after leaving the Federal Art Program, Pollock was hired by Peggy Guggenheim, a famous supporter of the arts, to create his famous Mural for her home. The piece stands at 8 feet tall and is a major accomplishment.  Interestingly enough, unlike many other muralists of the time, Pollock created this one on canvas because they wanted it to be portable. Usually, they were placed on the walls themselves.   This is the work that launched him into the world of history-changing artists. 

It was during the 1930s and 1940s that Pollock improved upon his signature tool–drip painting.  First introduced to the concept of using liquid paint instead of powders in 1936 by another muralist, Pollock soon adopted it as his preferred method.  Most of his work would feature this style beginning in the early 1940s.   He used alkyd enamels (such as the paints used for home walls), which was highly unusual at the time.  He then took sticks, syringes, large stiff brushes, etc.  and would pour or drip the paint over the canvas. Are you familiar with any of those 70’s movie where they start flinging paint in stripes across the canvas? That’s his style.

His great contribution to the art movement, other than the drip style of painting, was that he moved away from the traditional tools of the trade. Instead of easels, he would set the canvas up against a wall or work off of the floor. He used different objects to paint with instead of normal paint brushes.  Instead of smooth deliberate strokes, he would fling his body into moving the paint out.  His concept was that the paint came from his soul, moving from his body straight into the work. It’s all about emotions and the expression of them.  He felt that he was putting himself down on paper (remember the Jungian influence).  

While his greatest works were made in the drip style from 1947-1950, but the stress of maintaining his title as “Greatest artist in the US” started getting to him. He abandoned the drip styles in 1951, and began working with dark colors and canvases. He would later return to colors, but something changed during that time. If his art expressed himself, then he had a dark and depressing turn.  He never came back to the “Drip” works; instead moving on to sculpting until his death in 1956 in a car accident while he was under the influence.  Also killed in the accident was Edith Metzger, a close friend; however, his mistress, Ruth Klingman, another famous artist survived.

Pollock’s work has sparked decades of debate and conflict. Some believe he was the greatest artist of all time–that he captured not a painting per se, but the “Act of painting.”  Kind of like an action shot in a photograph, many claim that his art was the realization of the movement of painting.  That does seem to be how Pollock viewed it.  I rather think it was something like when I play the piano on bad days–I love to bang and pound away, regardless of whether the keys are in the right order or whether it is recognizable by the end. It is the process of playing, pounding on those keys, that soothes my soul.  When I look at Pollock’s work, I think perhaps that is what he was doing–flinging and blazing a mark across the canvas, not for the end results but for the act of flinging and blazing.  Personally, I don’t really like the end results; there is little of beauty or meaning in it to me. But I know that it meant something to him, and with art like this, that is what really matters.

Regardless of whether or not you approve, he did change art forever by encouraging the rise of Abstract Expressionism.

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