Sheaffer Violet vs Purple

While on the Sheaffer web site I noticed that Skrip has changed the
name on their Violet ink To Purple.
Does anyone know if the ink is the same color, or has that changed along
with the name?
Ken..

I believe stylophiles compared them. Just go to www.penlovers.com and do a
search for skrip. It was in an article about wacky colors.
Richard
"Kenneth D. Schillinger" wrote in message
...
While on the Sheaffer web site I noticed that Skrip has changed the
name on their Violet ink To Purple.
Does anyone know if the ink is the same color, or has that changed along
with the name?
Ken..

In article , "Kenneth D. Schillinger"
writes:

Skrip has changed the name on their Violet ink To Purple.

I teach a color theory course in two universities. (Yes, there really is such a
course and, no, I am seldom color-coordinated.) Most people use these terms
interchangeably. However, for some colorists, purple is of a hue between violet
and red.

Dik

(Dik F. Liu) wrote in message ...
In article , "Kenneth D. Schillinger"
writes:

Skrip has changed the name on their Violet ink To Purple.

I teach a color theory course in two universities. (Yes, there really is such a
course and, no, I am seldom color-coordinated.) Most people use these terms
interchangeably. However, for some colorists, purple is of a hue between violet
and red.

Dik

Dik, as a philologist this is something I've been thinking about;
purple is translated as "púrpura" in Spanish ( we also have the word
"violeta" among a few others for that colour ), but spanish púrpura is
only applied when the colour is clearly towards the red side, so to
speak. It's sort of thinking: when does a blue turn red? where's the
line?. This may seem stupid, but there is a complex cognoscitive idea
behind.

Juan

but spanish púrpura is only applied when the colour is clearly towards the red
side, so to
speak. It's sort of thinking: when does a blue turn red?

Juan,

Technically, blue turns red as soon as red is added to it. So, even a
blue-violet is technically a blue that has turned red - although the blue has
turn red very mildly. Add enough red to the bluish violet, and you have a hue
that is exactly between blue and red - that is called a secondary violet.
Sometimes this is called secondary violet because, as I said, some people use
the term violet and purple interchangeably. You can test a true secondary
violet by mixing it with yellow, as it would produce an exact neutral black. If
you get a black with a bluish or a reddish shade, that violet is either too
bluish or too reddish as a secondary violet. Add any more red to this secondary
violet, and that's a reddish violet.

Dik

Do you use "real" names for colors, as opposed to those fakey, euphemistic (or
worse, Politically Correct) names that seem to be everywhere these days!?
grin It seems to be difficult nowadays to find color charts with "real,"
old-fashioned color names.

I don't know about politically correct names. Artists grade paints are clearly
labeled as to their pigments. If you look at the back of these paints, you will
see a code. This code ensures that the pigments confirmed to the ASTM standard
of that pigment. For example, a blue made from cobalt would bear the code of PB
28. If the blue is a substitute made by cheaper pigments such as a mixture of
ultramarine blue (PB 29), Thalo Blue (PB15 or PB 16), and Titanium White (PW
6), these codes would be listed in the label. This substitute paint can no
longer be billed as Cobalt Blue, and instead is usually labeled as Cobalt Blue
hue. All imported paints that I know of bear the ASTM code. Some domestic
paints are exempted from this. But most domestic paints still list the ASTM
code.

Simply put, purple is more bluish, whereas violet is more red-dish. That's my
rule of (purple) thumb, which I admit is influ- enced by the stamp catalogs.
The professor's posted statement above appears to run counter to this. I'm
suggesting a spectrum of blue - purple - violet - red, whereas he seems to
be saying, or seeing, (blue -?) violet - purple - red. Perhaps all this
proves is that the professor isn't a stamp collector!?

If you are refering to me, I can't comment on stamp collecting. That's beyond
my area of expertize.

Dik

(Dik F. Liu) wrote in message ...
If we consider several languages, then things get even more complicated. A
language is the result of the interaction of a group of individuals in a given
environment. It's that simple. Change one thing from that formula and you'll
get something different. One more example: "blue" in spanish does not have the
sadness connotations it has in English. The colour is the same; it's the way we
treat it that changes. I'd like to know what does Dik think about this.

That's very true, both Rudulf Arnheim and E.H. Grombrich wrote about this
aspect of our perception. How we associate with colors varied from culture to
culture. Actually, we often think about color metaphorically, without knowing
so. Painters and colorists would describe a color as being cold, or warm, or
loud. Colors can't be physically cold or loud, they only evoke these attributes
metaphorically. However, these metaphorical attitudes can be very real. French
Impressionism is a great example of modulating colors according to their
temperature.

Yes, Dik. Something similar happens with guitar slang. We have things
like "creamy distortion", "harsh fuzz", "punchy mids" and things like
that. I've just remembered Patrick Suskind's "The Perfume", where he
manages to describe smells using these same "more earthly adjectives".
As you say, it's a metaphorical use of language which needs some REAL
interaction between individuals so that the original meaning does not
deteriorate (which OTOH is impossible :-) lol)

Juan

On the other hand, color can be specified scientifically. What is use today,
The Standard Color Code, is derived from the Munsell Color System. The Munsell
system precisely specifies color according to its hue, value, and chroma.

Dik