WEBVTT

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The association of color and music is a quite natural alignment, one that has been expressed

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in many forms in many times.

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Basic to the analogy is the fact that as the sensations of sound are to the ear, the sensations

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of the body.

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Okay gang, let's set our levels.

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Give me a blue.

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Further, as orderly arrangement of sounds by the composer produces music, while random

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haphazard sounds produce noise, colors organized by the artist or other color expert produce

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visual harmony, rather than the visual discord of random haphazard arrangements of color

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elements.

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Okay, blue, you're set.

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Now let's get a green level.

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It has long been demonstrable that both noise and visual discord have negative effects on

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morale and productivity.

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And that conversely, visual and oral harmony are highly positive influences.

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That's good green.

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Now let's hear some yellow and red together.

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For these and other reasons, we consider a strong color music association appropriate

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to the introduction of our new color system.

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That's fine for yellow and red.

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Now let's hear from orange.

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The variations we are presenting here, musically and visually, have been selected to dramatize

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the options, good, bad and in between, that confront everyone who deals seriously with

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color.

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And, it is in the spirit of improving and expanding the very wide world of visual harmony

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that we are calling this production, Chromatic Variations from the GF Color Collection.

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That's fine orange.

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We're all set in here.

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Stand by.

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This is Variations from GF Color Collection, Track 1.

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The scene here is, believe it or not, suffused with vibrant color.

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Only the illumination is missing.

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Add an expanding quantity of sunlight to this particular scene and see for yourself how

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color can bring life to a given environment.

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Natural color is the dominant influence here.

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And natural color has become a kind of euphemism for correct color.

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But correct is itself one of those subjective terms which, like taste, is at least as widely

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interpretable as the difference between Currier and Ives and 3200 Kelvin.

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Don't misunderstand.

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We would be the last to put down natural color.

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It's not nice to fault Mother Nature's color.

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But just consider the uncertainties involved in following such specifications as sky blue,

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leaf green,

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peach,

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orchid,

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plum,

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and so on.

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Such designations are evocative of all kinds of subjective associations to be sure.

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But subjective associations tend to resist precise translation into objective specifications.

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As my leaf is greener than your leaf, your orange is oranger than mine.

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While her plum is, in many ways, plummier than ours.

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And that's the way it goes, quite naturally, all across nature's wonderfully variegated spectrum.

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We feel at ease with these observations because, at least since the early cave painters,

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artists have been filtering natural color interpretations through their own aesthetic judgments and technical limitations

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and modifying them accordingly with no apparent diminishing of nature's glories, real or implied.

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And in point of fact, natural colors, in all their colossal aggregate, are not all that harmonious

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or wouldn't be displayed side by side.

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Nature gets away with her catch-all palette because her canvas is so wide and so beautiful.

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Sheer space is a great harmonizer.

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So much for nature's color extravagancies.

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Just to keep it all in perspective, let's consider a sampling of man's involvement with color.

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In the beginning, as the saying goes, the child's responses to color are as pure and unprejudiced

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as the reactions of various other innocent fauna.

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The child's response to color is as pure and unprejudiced as the reactions of various other innocent fauna.

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Responses and expressions alike incorporate exuberances of spirit and creativity that color can and should evoke.

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But somewhere along the line, inhibitions and constraints begin to raise their uncreative heads

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and intuitively expressed color dynamics become something else, or more precisely, nothing else.

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Not the least of the negative influences are the traditional color cliches with their built-in contradictions and imprecisions.

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What a list one could make, for example, of just the connotations of red.

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How about danger, mercy, provocation, or dare we recall it, the fabled red light district?

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And the very same red that ennobles the red badge of courage could well be the same red that we are supposed to see when anger wipes out reason.

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But good old reliable blue gets its share of contradictions too.

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Since the hue of flags' honor and freedom's skies is not readily differentiated from the blues we sing out in lamentation of loves lost and dreams derailed.

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Add blue Monday and blue funk, and you can estimate the true dimensions of blues detractions.

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And while you're at it, consider the sorry plight of warm, sunny yellow.

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So long condemned to coloring the special stripe alleged to lurk in the backs of those timid souls who resist the trumpet's command to charge.

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On that score, does the yellow stripe down the middle of a highway mean that you're a chicken if you don't cross it against traffic?

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Let's hope not.

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But in any case, as if yellow wasn't enough, cowardice was also classically awarded a feather of purest white to further identify its ignoble perpetrators.

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This kind of put down of color is part of the legacy of less well-informed times past.

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And of course, there were many positive attitudes and applications to offset them.

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But considering our well-documented historical veneration of color and its powers to inspire,

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it is surprising how drab and uninspiring we permitted our working environments to remain through more than half of this presumably enlightened century.

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The artist has always sensed intuitively the emotional powers of color.

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Sometimes even an inherently sunny disposition needs a color cue.

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Yet it required not only the unrelenting efforts of the pioneer interior designers,

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but the support of industrial psychologists backed by a considerable body of scientific confirmation

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to sell the business in industrial communities on the positive, highly productive benefits of humanizing the working environment.

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The tide started turning in the early 50s, and once this humanizing movement was underway,

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the nothing neutrals were replaced by the tentative pastels,

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and carpets started covering the tile floors of those traditionally depressing working areas.

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And, as small a start as these early developments represented in terms of total needs,

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they did manage to light the fuse for the explosion of real color that was certain to follow.

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And follow it did, in the 60s, interestingly and often strikingly, though seldom on a consistent, integrated basis.

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Which brings us up to the here and now, the final quarter of the 20th century,

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with its authentically dazzling array of color options.

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It is an array made both more impressive and more productive through the coherence of the GF color collection.

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Because the ramifications and complexities of today's working environment involve so many related elements,

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the GF color collection extends far beyond the confines of its primary palette of 24 enamel colors,

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the codifying basis for all components of the system.

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It extends not only from A to Z, but from VINEX to metal finishes.

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The GF color collection is a comprehensive, consistent, color-coded system expressed in 18 fabric and finish groups,

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selected, specified, and supplied from a master reference by a letter, number, letter, tricode.

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The tricode indicates the fabric or finish group, its relationship to the primary palette,

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the 24 basic enamel finishes, and its color family, respectively.

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Within a color family, all colors are in harmony.

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A working match is indicated when the tricodes of two or more swatches are identified by number and final letter pairings.

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Naturally enough, the professional designer doesn't require a matched color system to get the job done, even a complex job.

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But the professional designer can make good use of a compatible collection of colors, which will expand his creative range,

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and make communication of color and related choices easier and more certain.

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We could demonstrate the ease, security, and variety of interpreting the GF color collection with a hundred examples.

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But one will suffice for now.

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Suppose you select dark beige, Q4A, as an enamel finish.

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To complete a matching design selection, note its compatibility code,

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and choose either Columbia Fabric, C4A, or any other 4A-coated material.

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We hope that you will find the GF color collection to be as useful and flexible as we have tried to design it to be.

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It should work equally well for solos and ensembles, for classical and contemporary.

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And if it lives up to its solid early promise, it will serve the color composer and the color conductor, as well as the color performer.

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That's the GF color collection.

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Play us a selection of environments, maestro, if you please.

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The GF color collection is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,

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and the color performer is a collection of environments, maestro,