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.

One of the great advantages of living in a temperate climate is the glorious colors displayed by the plant community in the fall. Trees, shrubs, and even some perennials seem to want to throw one last orgiastic Las Vegas-style display before winter slaps everyone upside the face and screams, “Go to sleep! Now!”
The reverie is in sight everywhere here in the gardens and grounds of the IMA, from the contemporary gardens near the around the museum building to Oldfields to 100 Acres. You can find a plant somewhere doing its best hoochie-koochie dance to get your attention one last time. How long will the show last? Hard to say. With the drought this year I think it will be a quick peep then lights-out, leaves fall. But, I could be totally off the mark. Nature’s floor shows can be difficult to predict. Your best bet is to get out there and enjoy whatever performances you can catch.
I’m prone to go on and on about paperbark maple, Acer ginnala. I know, I know, I’m prone to go on about everything. Get your own blog. Paperbark maple is a favorite of mine with its fabulous bark, foliage, and fall color. But I want to mention the paperbark’s slightly more subtle friend, three-flower maple, Acer triflorum. We have a few on the north side of the parking garage.

Beautiful foliage, beautiful bark, and good fall color. All on a tree small enough for most any landscape but big enough to provide some shade.

A more traditional maple for shade is this sugar (Acer saccharum) near Deer Zink.

The uncommon Disanthus cercidifolius and our native spicebush (Lindera benzoin) look wonderful in their fall finery.

With Oldfields being an 80-plus year-old landscape many mature trees can be found there. The red maple, Acer rubrum, in front of Garden Terrace is one of the first to color up.

My eye is always captured by the way this sugar maple glows through the other, still green trees this time of year.

It really looks like each leaf is lit from within.

And from beneath it’s just gorgeous.

The service drive going towards 100 Acres is nice, of course.

And the fall colors always create a neat color echo for the pony-truss bridge across the canal.

Within Alfredo Jaar’s Park of the Laments, the fragrant sumac, (Rhus aromatica ‘Grow-low’) are developing their trademark glossy red colors. The switch grass (Panicum virgatum, at the top,) likewise is getting some burgundy in the leaves to go with the silvery flowering plumes.

By the lake, the gray and white bark of a young sycamore (Platanus occidentalis) makes a great background for the very red foliage of Virginia creeper (Parthenocissus quinquefolia).

Down the road along the lake, mulberries (Morus alba) provide a color echo for one of the pieces in Jeppe Hein’s Bench Around the Lake.

Even some of my tropicals are getting in the act. The Tibouchina grandiflora, princess flower or glory bush, around Sutphin Fountain are taking on simply mouthwatering shades of pumpkin orange.

Great color, great texture, what’s not to love? I mean, who cares if it ever blooms? Okay, I would like the purple flowers with the pumpkin foliage. But you can’t always get what you want.

First, a quick overview of some technical bits. The user can select a range of dates from the map interface, and a new set of markers is rendered after an AJAX query to the backend PHP code, which requests the data from our database and aggregates it at the zip code and state level. The decision to do this two level aggregation was based on the performance hit that would be taken in trying to render on the order of 7000 icons for a year’s worth of data on a nationwide map. The MarkerManager class (which used to be part of the core Google Maps API) is used to display one set of icons when zoomed inside of what might be called “state level” and another set when zoomed out further. This adds a bit of extra complexity to our colormap choice.

There are a number of ways that this data could have been mapped into visual symbols. The size or shape of the glyphs could be related to the number of admissions, for example. The method that we are using maps the number of admissions to color (when this mapping is stored, it is called a colormap). The particular mapping that we use is important, because some mappings are better than others for certain tasks. For the markers on the map, we use a colormap that smoothly transitions from a blue at the low end to a red at the high end. The particular choice of blue to red leverages our cultural understanding of blue as “cold” and red as “hot” (note that sometimes colormap choice depends on cultural interpretation), a metaphor which works well as a representation of low vs. high admission rates. The combination of these two choices allows us to understand the general trends in the data without needing to refer back to the legend frequently. The drawback is that it is a bit more difficult to compare the value of two individual markers than it would be if we had picked a colormap of more distinct hues such as {red, orange, yellow, green, blue, purple}. We tried to make it easier for the viewer to make comparisons by limiting the number of colors in our legend.

The next important choice is how exactly to map the number of admissions to a particular color. To do this well, an understanding of the distribution of the data is necessary. Intuitively, we would expect that there will be high admissions numbers for the zip codes closest to the museum, and the trend will be toward increasingly lower admissions from more distant zip codes, and likely there will be many zip codes with very low, but non-zero admissions numbers. The best way to look at this objectively is with a histogram. I will take a number of approaches with the data from the year 2008, for which the highest raw admission count for a zip code was 12,375 (during the aggregation, 9 digit zip codes are merged into 5 digit zip codes, resulting in slightly higher numbers in some instances), out of 6806 zip codes.

This first histogram segments the zip codes into buckets in a linear fashion, with each bucket representing 10% of 12,375. As you can see, the vast majority of the zip codes end up in the first bucket. If we used 10 colors with this linear mapping, almost all of the glyphs would be blue. It would be great for identifying and comparing the few zip codes that have very high admission, but a lot of subtlety in the big picture would be lost.

This histogram also uses a linear segmentation, but with an upper limit (or clamp). Any zip code with 10 admissions or more are put into the red bucket. This would be fine for comparing admissions from distant zip codes, but we wouldn’t be able to distinguish visually between admissions from zip codes around Indianapolis.

This is where the beauty of logarithms comes to the rescue. Let’s use our example to walk through the process. First we determine the logarithm of our maximum number, 12375, in base 2 (working in base 2 is very efficient for computers). The result is 13.59. The highest bucket represents 12375 in the real world, and 13.59 in exponent-land. Each bucket represents a tenth of 13.57 in exponent-land, just as in our first histogram each bucket represented a tenth of 12375. We then simply derive the numbers that each bucket represents in the real world; 2 to the 1.359th power equals 3 (when represented as a whole number), for example. These whole numbers in the real world are then used to put the zip codes in the proper bins.

The result is that we have teased out more meaning to bestow upon our colors. There are still thousands of zip codes in those blue buckets, but they are the ones that are scattered across the nation on our map, so here we are aided by spatial distribution. In the red zone, there are dozens of zip codes in each bucket, and this is just what we want to be able to analyze the subtleties around Indianapolis where the icons are more spatially dense. It also turns out that this trend is pretty much independent of the date range, and the colormap still works out well at the state level.

On the actual map we use eight icons rather than ten to reduce clutter in the legend, but the algorithm is the same.

You might notice that we use a different type of colormap in the demographic windows. We actually tried using a smooth colormap for this data for the more linear demographics (Income, Age, etc.). The problem was that it was then very difficult to visually relate a particular shade of blue or green to a particular age or income level, which would almost certainly lead to eye strain and headaches. So here we used a more rainbow-like colormap to make that analysis easier.

In summary, colormap selection is a complex process involving aspects of mathematics, design, and the nature of the dataset. It’s one of those areas where art and science come together and the best practices of each can lead to successful communication of concepts and beautiful representations of data.