courtesy of Pantone.

It is a deep shade of orange but here’s a more detailed description.

Yes, tango and tangerine all in one color.

The tango – filled with sensuality, barely repressed animal sexuality and total control of staccato yet fluid movement.

Tangerine – filled with aromatic oils, sticky sweet yet tart juice, and so round and firm in the hand.

What a combination!

I’m a big fan of orange and the many shades of orange. Here are a few things I found about my house last night.

This does not include clothing, my yoga mat, or my fabulous piece of carry-on luggage.

In my designs, orange has played a role for years. I was unaware of people’s resistance to orange when I started using it. A good many have come around to my point of view. In truth, it goes with about any other color. You do have to watch with lavender (BIG mistake as a rule). And you must choose your pinks carefully. But a hot pink with a hot orange is, well…… HOT. And the right magenta with the right orange is true paradise.

We have several perennials to choose from for orange. So many new Echinaceas I lose track at times.

‘Tiki Torch’ from Terra Nova has been a favorite since I grew it a few years back. I know they have newer ones but the color on this one is so good.

Photo(s) courtesy of Terra Nova® Nurseries, Inc.

Of course their ‘Tangerine Dream’ looks good too.

Photo(s) courtesy of Terra Nova® Nurseries, Inc.

‘Hot Papaya’ is a favorite for certain. Plants Nouveau has introduced many great double echinaceas.

Photo courtesy of Plants Nouveau.

They also have ‘Marmalade.’ Love this one too.

Photo courtesy of Plants Nouveau.

Big Sky^TM Sundown (‘Evan Saul’) from Itsaul Plants has been reliable workhorse  for us for years. Saul’s were some of the very first with good Echinaceas in the new colors.

Photo courtesy of ItSaul Plants.

Geums are coming on strong these days with many new colors but my favorite is still the oranges. ‘Fireball,’ also from Terra Nova, has been great in my garden at home.

Photo(s) courtesy of Terra Nova® Nurseries, Inc.

Of course in annuals and tropicals we have always had a large selection to choose from. Remember marigolds, nasturtiums and zinnias? You can still find heirloom cultivars of these at the same time new varieties are coming on the market every year. And let’s not forget cockscomb.

I remain in full love-lust with the plumed variety ‘Fresh Look Orange.’

This has stayed in my top list since it was introduced several years ago. It blooms like crazy, gives great color and texture in the garden, and makes a superb cut flower.

Lantana is a blooming machine in many shades of orange from the nearly red ‘Dallas Red’ to the multi-colored ‘Miss Huff.’ Of course there is ‘Radiation’ (think that one is bright?), ‘Landmark Citrus’, and ‘Tangerine’ (not my first choice but willing to try again). I love the fact ‘Miss Huff’ can reach 4-5 feet tall in a season here in Indiana. I get tired of small plants.

Most of my favorite cannas have orange flowers too – ‘Pretoria,’ Tropicana,’ and ‘Orange Punch.’

‘Orange Sparkler’ is a new one with a lot of potential as well.

Photo courtesy of Plants Nouveau.

It was bred by Brian Williams from down in Louisville and also being marketed by Plants Nouveau.

Orange is not restricted to summer color.

There are early spring pansies.

photo courtesy of BallHort.

Fall foliage is certainly always considered in selecting woody plants (Fothergilla).

And let’s not forget the winter blooming witchhazels (‘Jelena’).

Just because ‘Tango Tangerine’ is the official color of the year, remember you don’t have to use just that shade of orange. There are a lot of crayons in the box.

Design is generally a pretty subjective endeavor, so when starting a new project I like to do a little research into the subject in order to guide the generation of formal elements. Fortunately Technicolor offers a wealth of visual elements to play with, but the methods and appearance of color film varies a lot depending on the time. The earliest versions of color motion pictures involved three separate rolls of film—black, cyan, and magenta—that were layered together in order to produce the color projection. It’s a very distinctive look, and is wholly different from the colors you see in The Godfather: Part II, the last American film made using Technicolor’s dye transfer process. The early three-strip technique provided inspiration for the initial Winter Nights designs, involving a large and somewhat abstract W made from shaded cubes to reference a frigid, icy winter.

While working on this abstract and wintry version, we also pursued a more literal direction using film as the starting point. Keeping the W, this solution retains the grainy texture that characterizes many of those older movies. While each had its merits, ultimately we decided to go with the film-centric version for this year’s series, and a final version was created that made very clear the series’ relationship with film, as well as including the Technicolor theme in the graphic.

Using film stills in a campaign for Technicolor movies is a no-brainer, but this was not as straightforward as one might think. In the 1940s, Technicolor threw out a large volume of color negatives after the studios didn’t reclaim them, and unless they’ve been re-mastered those movies are now only available in black and white. Fortunately, we were able to find some great color images from Charade and Gentlemen Prefer Blondes. The beauty of these movies speak for themselves when you see them, and in order to try imparting some of that drama and motion in print pieces, I relied on careful crops.

One particularly seductive image of Marilyn Monroe offers plenty of details to highlight—Marilyn’s face, her eyes lightly closed, could be mistaken for being asleep when viewed alone. The diamond bracelet and thick gray fur are a glimpse of luxury, sensuality, and elegant excess. The full image, my favorite among Marilyn’s publicity shots for Gentlemen Prefer Blondes, shows the actress dressed in red, wrapped in fur, and draped in diamonds. Her open mouth, even more red than her dress, completes a frozen moment of ecstasy, and was the perfect image to use for our Winter Nights banner.

Wayne Kimball, "Chairing Thanksgiving," 1982.

Just like that odd distant relative engaging you in awkward small talk for the entirety of the family dinner, Wayne Kimball’s quirky but meticulously crafted lithograph allows us a chance to appreciate that which often goes unnoticed or makes us uncomfortable. Kimball states, “My perceptions of certain past movements in art (most notably Northern Renaissance and Islamic Painting) coupled with idiosyncrasy…lead me to making some rather odd pictures…the compilation, arrangement and execution (and material quality) combine to hint at symbolic interpretations.”

Norman Rockwell, "Ours To Fight For, Freedom From Want," 1943.

Rockwell’s iconic image of the American gathering is more than likely etched in the back of everyone’s minds as we celebrate this season. Culturally significant now for its representation of American nostalgia, it was complementary in its own time to FDR’s “Four Freedom’s” speech given in 1942 to aid the war effort. This lithograph is based on one from a series of four themed paintings:  Freedom from Want, Freedom from Fear, Freedom of Speech, and Freedom of Worship (the Tenants of FDR’s speech).

Emile Bernard, "Le Moissonneur (The Harvester)," 1889.

Thanksgiving is said to have been born out of an English tradition of appreciative agrarians gathering as a community, not only to give thanks for their fall harvest, but also to rest and celebrate their hard work throughout the summer months. Bernard’s Breton farmers engaged in back-breaking labor to gather wheat from the field with their scythes. Bernard’s primitive technique and subject matter allows the viewer to be transported back in a time where the harvest was well-earned – where one didn’t go to the big-box store to grab a turkey from a freezer section, make stuffing from a box, or pick up a plastic wrapped Pumpkin pie and canned whipped cream.

Workshop of Jan Brueghel the younger, "The Sense of Taste," 1618.

This image is our urging of how not to eat today. Thanksgiving is a notorious diet breaker, and even the strongest-willed dieter can easily crumble at the mouth watering smell of Grandma’s homemade yams or Aunt Becky’s mashed potatoes. Jan Brueghel’s image contains a gluttonous feast, drunkenness, and if you look hard enough in the (bottom center left) you will see a small monkey. This is the artist’s representation of the devil being present in the scene (a common symbol in artwork during this time period). Lesson to be learned: Stuff the turkey, not yourself.