Rochester Institute of Technology
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Theses
Thesis/Dissertation Collections
8-2-1968
Figure and Environment
Carol Davis
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Recommended Citation
Figure
and
Environment
Carol
Davis
Candidate
for
I
lie
Master
of
Fine
Arts
in
the
College
of
Fine
and
Applied Arts
of
the
Rochester
Institute
of
Technology
August
2,
TABLE
CONTENTS
Introduction
. . . .i
Exposition
1
Conclusion
13
Visuals
15
ILLUSTRATIONS
'Polka
Dotty
Polks'
16
'The
Bride
Stripped
Bare'18
'Songs
of
Innocence*
20
'Norwegian
Nana'
22
^5
Details
23
'Formula
V925
Details
26
'Gluteal
Pilot928
*
Siamese
wid
30
Photo-
Si
lksereened
Image
32
I.
Purpose
ofThesis:
The
purpose ofthis
thesis
will
be to
explorefigure
and environmental relationships
in painting,
through the
combined applicationof acrylic paint and
the
spray
- stencil.II.
Scope
ofThesis:
Research
willinclude
anInvestigation
ofhistorical
andcontemporary
attitudes
towards
figurative
painting,
with specialemphasis placed on
the
development
ofthe
flat,
two
-dimensional
image.
Texts,
periodicals,
andcatalogues
from
exhibitions willbe
utilized.I
will complete a series of sixpaintings,
eachbeing
no smallerthan
36M x I4.5"These
paintingswill
be
executedthrough the
application of avariety
oftechniques.
I
willfocus
onthe
combination of
flat,
acrylic painted surfaces andsprayed metallic and non - metallic
stencils.
Some
pencildrawing, flocking,
and special collageeffects will also
be
included.
III.
Procedures:
The
summer quarteris
a shortone,
and
I
consequently
feel
the
necessity
ofdoing
extensive
preliminary
preparationfor
the
thesis.
II
the
beginning
ofthe
quarter,
andI
shallbe
commencing
my
researchfor
the
projectthis
week.
(May
20,
1968)
.I
will completethe
majorportion of
the
painting
andthe
roughdraft
for
the
thesis
reportby
the
fourth
week ofthe
quarter-The
remaining
two
weeks willbe
devoted
to
revising
the
report,
photographing
the
paintings,
andpreparing them
for
exhibition.IV:
Alternate
Proposals:
1.
"Mechanistic
Abstractions"The
series of paintings completedfor
the
master's
thesis
have
not evolvedfrom
specificreferences
to
aestheticstrategies,
past or present.I
amtherefore
quite unableto
classify
them.
For
this
reasonI
have
chosento
label them
simply
as
figure
- environmental problems,
alluding
only
to
their
pictorialcontent,
ratherthan
forcing
analogies with other schools of
thought.
That
I
have
been
influenced
by
contemporary
aestheticvalues,
however,
is
implicit
in the
work.Yet
the
historic
antecedentsleading
to
the
actualproduction of
these
paintings are noteasily
chronicled.
In
developing
an explanationfor
the
thesis
paintings,
I
shallfirst
seekto
briefly
sketchthe
evolution of onefacet
ofmy
work -the
two
-dimensional,
non - plasticfigure.
Because
I
could notpossibly
hope
to
coverthis
subjectin
has
generally
interested
me.I
shallthen follow
with an
investigation
oftechnique,
and concludeAll
figurative
painters,
past andpresent,
are engaged
in
the
art oftranslation.
Those
who
have
workedin two
dimensions
have
soughtto
masterthe
variousdevices
which can createan
illusion
of space.In
'primitive'cultures,
however,
one notesthe
absence ofillus
ionistic
continuity.
In the
iconography
ofthe
Early
Christian
andByzantine
artists,
the
vase andmural
painting
ofArchaic
Greece,
the
hieroglyphs
of
the
Egyptians,
Eskimo
andAfrican
Art,
painting
is
essentially
drawing
filled
in
withsolid,
flat,
color.
The
gradualdiscovery
ofdepth
andmodeling
of space replaced
this
stylistic markIn
mostWestern
cultures.Yet
the
simplicity
andbeauty
of
this
non - visual attitudeto
spacialform
andorientations
has
been
rediscoveredby
the
Twentieth
Century
artist.A
growing
technology
has
madeit
possible
for
these
stylesto
be
researchedby
the
modern painter.
Besides
anabiding
interest
in
primitivek
work
in
paintings ofMatisse, Leger,
(Stuart) Davis,
and
Wesselmann.
Matisse's
nudes arediagrams.
He
simplifies and
flattens
forms,
and reducesthem
to
essential patterns.Leger 's
robust,
tubular,
cubist
forms,
metallicsurfaces,
and garish colorhave
alsoInfluenced
my
thinking.
His
interests
were reflective of a
growing
technological
society,
as witnessed
in his
writings whentie
states:"For
me
the
human figure
is
no moreimportant
than keys
or bicycles."
Stuart
Davis
concentratedhis
vision on
the urban,
out - of-doors,
and reconstitutes
it
by
means of variation on cubistenvironments.
Wesselmann's
girls are productsof
contemporary
Americana,
that
"long
-finned,
big
-breasted,
oneborn
every
minute society."Wesselmann's
nudes willbe
acontour,
with signalsfor
lips,
nipples,
andhair;
one signin
anarray
of signs.I
have
alsodrawn
suggestionsfrom
the
worksof other
contemporary
painters,
besides
Wesselmann.
The
flat
figures
ofDavid
Hockney;
D.
Holbrook's
grid
painting
- each squarecontaining details
ofgirls and
their
underwear;
the
bizarre
Pop
fantasies
of
Richard
Lindner's
zoftikwomen;
the
twisted,
rubber contours of
Francis
Bacon's
nudes;
the
diffused
\
L.
Lippman,
Pop Art,
p.20
d
figure
- grounddrawings
and paintings of
Gladys
Nilsson,
Jim
Nutt,
Karl
Wirsum;
the
large
abstractions
ofValario Adami:
directly
- orindirectly
-all
have
servedto
influence my
thinking
aboutmy
own work.
The
invention
ofthe
photographic processhelped
serveto
revolutionizethought
in the
traditional
arts.
The
painter could nolonger
depict
a worldthat
had
been
much photographed,he
turned,
instead,
to
revealthe
inner
process ofcreativity
in
expressionism andin
abstract art.Likewise,
the
novelist could nolonger
describe
objects orhappenings
for
readerswho
already
knew
what washappening
by
photo,
press,
film,
and radio...Thus
art movedfrom
outer
matching to
inner
making.My
choiceto
representthe
figure
as atwo
-dimen
sional,
non - plasticentity
canbe
viewed as areaction against
the
recorded photographicillusion.
The
choiceis
aswing towards
subjectivity,
towards
presenting
a creative processfor
publicparticipation.
Yet
I
do
referto
photographic sourcesfor
my
work,
asdo many contemporary
artists.Each
artist,
however,
uses subject matter and contentdifferently.
When
Warhol
andRausch
use photosthey
areprinted
from
silkscreens .. .which canbe
usedagain.
Artschwager
uses photographsto
workfrom,
but
he
transfers
them
by
hand.
The
paintings of
Joe
Raffaele
arederived
from
photos
ih.
magazines,
but
they
are of uniqueand/or anonymous situationsx
M.
McLuhan,
Under
standing
Media,
p.171).
I
use photographic source materialfor
subjectmatter and as an
inspiration for
technique.
The
nudes ofBill
Brandt,
greatly
distorted,
flattened,
andforeshortened through his
useof
the
20mm,
wide anglelens,
suggested animage
for
the
"Formula
V"painting.
Other
details
from his
photoshave
been
translated
into
my
work.Because
I
do
workfrom
aluminum andblack
spray
cans,
pencildrawing,
andtaped
or stencilededges,
my
paintings often resemblethe
photographor
the
photoengraving.This
effectoriginally
was
accidental,
but
I
realizedthe
potentialfor
organizing
spatial contrasts withthe
flat
acrylic painted surfaces.
My
reactionto
the
combination of
techniques
is
similarto Wesselmann's
To
quote:One
thing
I
like
about collageis
that
you can use
anything
which gives youthat
kind
ofvariety;
it
setsup
reverberations
in
a picturefrom
onekind
ofreality
to
anotherThe
decision to begin
investigating
mediaother
than
acrylics was madeearly
in
my
secondquarter of painting.
I
had
found
myself,
atthat
point,
thoroughly
bored
withmy
work.And,
after
stumbling through fifteen
ortwenty
exhibits*
T.
Jacobson,
"What
is
Pop Art?",
Art
in America.
in
New York
galleriesduping
Christmas
vacation,
I
began
to
.feelthe necessity for
change. ..and,moreover,
I
knew
how
I
would makeit.
I
wasvery
much attractedto
the
work ofthe
New York
Pop
painters.My
facination
was not so muchcentered on
their
choice ofsubject,
but
ratherin their
exploitation of commercialtechniques.
Industrial
materialslike
formica,
neon,
chrome,
Day
-Glo
and aluminumpaints,
plastics,
acetate,
Ben
Day
dot
screens,
automotive enamels - allthese
characterizedthe
new art.The
centralnovelty
and perhaps mostfruitful
aspect ofPop
Art
consists notin
its
concentration of common objects(which
provided materialfor
earlier generations),
norin
its
questioning
ofthe
nature ofthe
relationship
between
depiction
ofreality,
but
in
its
sanction ofadvertising,
illustration,
and commercial art conventions as well astechniques
for
the
presentation ofthese,
orany
otherfigurative
subjectsin the
context ofhigh
art.In
this
technical
senseray
paintingsdo
correspond with
the
work ofthe
Pop
artists.Yet
I
do
notclassify
them
as'Pop'.
I
have
consistently
greetedmy
work asformal,
aesthetic
problems
in
composition andtechnique.
I
quotefrom
mass - media or mass - producedsources.
My
focus
is
not onchosing
desirable
Pop
subjects,
common objects or popular cultural
topics.
I
6
N.
Marmer,
"Pop
Art
in
California",
Pop
Art.
8
do
not ascribeto
any
particularhumanistic
orStockpiling
my
stencilsfor
the
paintingswas
truly
a chance operation.Most
ofthem
arefound
(sometimes
stolen)
objects.Some
ofthe
stencils used were
kindly
donated
by
enlightenedscavengers.
Only
avery
few had
to"
be
purchased-e.g.
the
large,
diamond
patterned grid andthe
doilies.
My
collection wasnearly
completeeven before-
I
commencedany
painting.I
reliedon
manipulating the
stock of ' givens' ratherthan
having
to
invent,
andthen
secure,
stencilpatterns as
I
progressed.I
liked the
challengeposed
by
this
particularkind
of approach:with 'x' number of
givens,
Ty' number of controlledvariables
(color
andtonality),
andOne
Absolute
(a
nude),
I
could anticipate 'z' number ofresults.
Naturally,
the
operation was never soschematic.
Yet
I
did
operate -to
adegree
-within a system.
My
aim:clarity
andstrong
design.
The
stencils used most often areillustrated
anddescribed
in
the back
ofthis
book.
10
aide of
preliminary
sketches ordiagrams.
Occasionally
I
do
have
a generalidea
for
the
positioning
of afigure,
but
this, too,
is
subject
to
change.I
have
found that
translating
drawing
into painting
is
atedious
endeavor.It
bores
me.To
expand anidea,
already
complete,
Into painting
oftentimesis
necessary.For my
work,
it
is
not.My
approachto
the thesis
paintingshas
been
fairly
consistent.I
wouldfirst
stencilin the
majordivisions
ofthe
picture plane withthen
layers
of aluminum andblack
enamel spray.This
technique
-direct,
rapid - offered memaximum
flexibility.
The
near-transparency
ofthese
sprayedpreliminary
divisions
couldbe
easily
covered.If
satisfied withthe
arrangementof
the
first
stenciledforms,
I
would proceedto
addfurther
layers
ofspray,
slowing
building
the
composition.After
I
was ableto
calculatethe
basic
environmental structurefor
the
painting,
I
would addthe
color areas.The
color was
included
only
afterI
was certain ofthe
composition,
for
I
did
not wantto
destroy
the
immaculate
quality
ofthe
surfaceby
having
to
overpaint mistakes.I
found
that
I
had to
11
In
orderto
insure
aneven,
brilliant
surface.I
oftentimestaped
the
edges,
and sealedthem
with polymer medium.
I
found
that
this
defining
and
'locking
up' ofthe
color
in
static,
sharp
areas charged
the
paintings with energy.Once
the
color wasapplied,
and adjustments weremade,
I
would returnto
the
spray
cans and stencilin
detailed
overlays,
and conclude -with afew
finishing
touches
in
color.I
preferadhering
to
the
primary
colorsrather
than
exploring
more sophiticated schemes.I
like
them
because
oftheir
simplicity,
andI
feel
that
they
workconsistently
withthe
aluminumand
black
spraysto
achieve anewly
minted,
commercially
produced aura.As
Matisse
once remarked:Thus
it
is
that
simple colors can act uponthe
inner
feelings
because
they
are simple.A
Blue,
for
example,
accompanied
by
the
shimmer ofits
complementary,
acts uponthe
feelings
like
a gong. 'The
same with red andyellow,
andthe
artistshould
be
ableto
soundthem
whenhe
needsthem.
I
am also struckby
the
banality
ofthe
pink - silver
gray
combination.This
onefacination
of
mine,
I'll
admit,
does
suggestsomething very
'
12
close
to
the
directives
ofthe
Pop
artists.But,
again,
exposing
the
banal
orbizarre
is
not
my primary
purpose.In the
late
'0's
the
whole ofAmericana
dressed
itself
in
pink and gray.
I
thought
it
ghastly then.
I
still
do,
actually,
andI
intend
to
exploit13
Hopefully,
my
work stands as astrong
enough
testimonial
to
the
progressI've
made.I
see no reasonfor
laboring
that
point
here.
Instead,
I'll
briefly
discuss
ideas
for
future
work,
andthe
direction
I'll
be
taking
as a result ofthe
discoveries
madein the
thesis.
I
shall continueto
use stencil - spraysand
acrylics,
only
I
willbe
working
on plastic.Uvex,
aKodak
product,
is
relativly
inexpensive
and exhibits all
the
characteristics of plexiglass.It
canbe
heated
andthen
moldedin
a vacuum press.I
amgoing to
first
work onthe
flat,
transparent
sheets,
andif
I'm
satisfied withthose
results,
I'll
moveinto
forming
them.
I
wantto
take
advantage ofthe
transparent
.ground.
This
is
the
main reasonfor moving
from
canvas
to
plastic.The
application of athin
layer
oflacquer
spray
does
notform
an opaqueih
behind
a single sheet.What
I
intend
to
do
is
sandwichthree,
or evenfour,
Uvex
sheetstogether,
with a separateimage
developed
oneach surface.
I
might confine eachtechnique
to
separatesurfaces,
or mixthem
simultaneously
for
added effect.Each
individual
sheet,
then,
will contribute
to
the
final
image.
When
placed
up
to
eachother,
the
layering
will serveto
create avery
strange spatialillusion.
The
work will stillinclude
the
human
form.
This
yearI
learned how
to
make a photo-silks creentransfer from
a negative.(An
example ofthis
is
illustrated
in the
back)
I
shall attemptto
screen
these
photographicimages
onthe
Uvex.
The
resulting
image
will constitute one ofthe
plastic
layers.
The
only
problemI
can anticipatethusfar
willbe
amonetary
one.The
scale ofmy
work willprobably
have
to
be
considerably
reduced.
15
"Polka
Dotty
Polks"3
3A'x
Acrylic,
lacquer
spray,
pencilThis
painting
is
my first
effort atcombining
the
stencil-spray
with acrylics.I
attemptedto
keep
the
composition simple sothat
I
mightfocus
my
attention ontechnique.
The painting,
though,
is
not withouttechnical
flaws.
The
painted edges are
sloppy
andimprecise,
andthe
thin
veils of silverspray
are so subtlethat
they
areonly
barely
discernable
- and are oftenlost.
"Dotty"is
a restrainedeffort,
yetthe
cautiousness with which
I
approachedthe
painting
enabled me
to
overcome atendency
towards
Including
superflous embellishment,
i'he
simplicity
ofthe
17,
"The
Bride
Stripped
Bare
by
the Air Force
Even"]+'
x 'Acrylic,
spray,
pencil,
goldbuff
I
originally
designed this
painting
as avertical composition.
I
discovered,
however,
that
the
shifttowards
ahorizontal
position offered memany
more possibilitiesfor
developing
adynamic,
assymetrical composition
The
transfer from the
vertical
to
the
horizontal
left
meto
contendwith
the
problem ofstationing
a now-reclining figure
to
the
picture plane.This
I
attemptedto
solveby
adding
some weightto
the
lady's
left
(lower)
thigh.
The
result - a massive areaof
black
spray
-still
does
not quite solvethe
problem.It
appearsa
bit
heavy
handed;
the
amorphous nature ofthe
form
conflicts withthe
controlled,
deliniated.
surfaces of
the
rest ofthe
canvas.The
compositionneeds
further
solidification.I
ampleased,
however,
with some ofthe
technical
effects ofthe
painting.Through
only
the
slightest suggestion ofcontour,
I
managedto
achieve a real
feeling
ofdepth
and weightin the
modeling
ofthe
figure.
And, too,
the
ambiguity
of
contrasting
plastic and non - plasticforms,
as
they
weavethrough
eachother,
Is
asuccessful
19
'Songs
of Innocence'(homage
to
William
Blake)
-Acrylic,
spray,
pencil,
gold
bUff
,tape3_f' x
$'
I
have
long
admiredthe
literary
andartistic
accomplishments
ofBlake
anddesired
to
re-createa
bit
ofhis
spiritin this
painting.
Whether
I
succeeded
or notis
probably
aquestion
best
left to
the
academicians.
But
some ofthe
'Innocence'
imagery
is
characteristicly
his,
although
translated
into
acontemporary
motif.As
I
gainedknowledge
abouttechnique,
my
paintings started
to
become
increasingly
morecomplex.
The
multi-faceted
imagery
in
'Songs',
reminiscent of a
Medieval
pastorale, machinery,
and mystic
incantation,
coalesces - andforms
a
very
strangepainting,
indeed.
It
is, then,
the
content of 'Songs' which pleases me most.And
because
ofthe
stirring juxtaposition
ofimagery,
whichdoes
somehow manageto
relate,
'Songs'
has
avery
different
meaning for
me.It
transcends
the
level
of aformal
problem21
"Norwegian
Nana"hi
x itAcrylic,
spray,
pencil,
tape,
flocking
Details
onfollowing
page."Nana",
alas,
Is
a problem child.My
Interest
in
expanding
the
structuralcomplexity
of a canvas was
her demise.
This
painting
perfectly
illustrates
my
aforementioned statement :that
unless
I
carefully
checkmyself,
I
caneasily
launch
myselfinto adding unnecessary
embellishment.Not
that
this
painting
doesn't
have
somevery
interesting
areasThe
problemis
that
there
aresimply
too many
ofthem,
resulting
in
conflict and confusion.The figure
andsurrounding
environment
battle
for
attention.In
mostmy work,
figure
- ground relationships arediffused,
the
figure
serving only
as a component with alarger
compositional superstructure. "Nana"is
_____r
^^
__?_
^_H
W^mmwmi^ikjL-J-m
?____'
i^*^ / n
*^H^mmmWm1r* ' ____________i ____________-**
r\^
J
___.
;'&*/
r4j
_a ___
j^^rmrr^^i
I ** __H
/
__*"
j/
,.J_W"--*s _^_L
^
-i**
"t
gfr"
2i|
"Formula
V"V
xh*
Acrylic,
lacquer
and
Day
-Glo
spray
Details
onfollowing
pageWorking
onthis
painting
wasnothing
less
than
sheerdelight...
a.I
could
forget
about"Norwegian
Nana...b.
I
had
asuggestion
for
afigure
already
athand,
thanks
to
aBill Brant
photo...
c
Working
on a shapeother
than
arectangle
opened
up
numerous
fresh ideas
for
compositional
problem
solving...
d.
I
had
recently
acquired
averitable
arsenal
ofDay
-Glo
sprays.
Attempting
to
simplify,
again,
I
turned
to
a near
-symmetrical
design.
I
felt that
the
diamond
-shaped picture plane almost called
for
this
formalism.
"Formula
V"is,
nodoubt,
one ofmy
mostsuccessful
paintings.
Oftentimes
I
suspectthat
apainting
is
not quitecompleted,
although
I
have
pronounced
it
to
be
so.This,
naturally,
comes
from
agnawing
dissatisfaction
with what
is
already
there.
I
feel
no suchanxiety
about
<n
II
27
"Gluteal
Pilot"V
x 5'Acrylic,
lacquer
spray
My
originalidea
for this
painting
wasto
illustrate
the
distorted
perception onehas
ofhis
body
whileplunging
through
spacein free
-fall.
I
had been
listening
to
sky-divers relatetheir
experiences.. ."Thefeatures
of yourface
are pushed
in.
You
are certain you nolonger
have
anose;
yourhead
is
a concave.And
youroutstretched arms
swing
into
infinity.
One
cannot
possibly
judge
the
relative position of one'shands
."
I
found,
though,
that
trying
to
force
amore
literal
transcription
ofthis
experiencein
painting
counteredmy
ambitionto fuse
figure
and groundin
abstraction.So
I
discarded
the
idea
ofassociation,
and worked ondeveloping
an emblematicdesign,
ambiguous and esoteric.Compos it
ionally.,
this
painting
is
strong.The
inventiveness
ofform is
more apparenthere
than
in
my
other work.The
color,
however,
falls
short;
29
"Siamese
Grid"3_r' x S'
Acrylic,
lacquer
spray,
silver
leaf
Aiming
for
atotal
fusion
offigure
andground,
I
silouettedthe
two
profilefigures
and
then
played with patterned perception.The
resulting
compositionis
not altogetherrecognizable
One
tends
to
not"analyze
this
painting according
to
the
thematic
materialpresented,
but
ratheras a
total
unit,
an emblematic configuration.This
effectis
provocative.I
like
it.
And
I
alsofavor
this
workbecause
ofits
immaculatesurface.
Of
allmy work,
this
last
painting
31
The
photo silksereen.(Elizabeth figure)
This
technique,
only
recently
developed,
is
rather complicated.
I
shallonly
briefly
outlinethe
procedures.For
further
information
onthe
subject,
one can referrto
any
recent publication onthe
art of silkscreening.A.
Photograph image
anddevelop
the
negatives.B.
Transfer
negativeimage
to
aKodalith
positive.
C.
Expose
Kodalith to
alight-sensitive
sheet
labeled
Hi
-FiGreen, by
means of an arc-lamp.
Ultra
- violetlamps may
alsobe
used,
but
the
exposuretime
is
greatly
increased.
D.
Develop
Hi
-FiGreen
in luke
warmwater,
and pressthe
sheet ontothe
silk.E.
When
the
Hi
-FiGreen
sheetis
thoroughly
dry,
strip
offits
plasticbacking.
The
resulting
image
willbe
apositive,
high
contrasttranslation
ofthe
originalphotograph.
F.
Begin
printing.The
photo - positive can33
Stenciling
material most often used:A.
Grid
B.
Aluminum
shelfC.
Garbage
paillid
D.
Styrofoam packaging
materialE.
Pierced
colunderF.
Paper
cut-outw$o&>&^
X\f\y\X/'
a
b
e
35
BOOKS
Lippard,
Lucy,
(ed.)
Pop
Art.
New York:
Frederick
A.
Praeger.
1966.
Mcluhan,
Marshall.
Understanding Media:
The
Extensions
of
Man.
New York:
McGraw
-Hill.
1900.PERIODICALS
Alloway,
Lawrence.
"Art
asLikeness".
"Arts
Magazine".
New York:
Art
Digest
Publishers.
May
1967.
Jacobson,
Thomas.
"What
is
Pop
Art?""Art
in
America."
New York:
Art
in America
Co.
Inc.
June
1966.
Seldnis,
Henry.
"Matisse
in Los
Angeles".
"Art
in
America".
New York:
Art
in America
Co.
Inc.
Dec.
I965;.
SUPPLEMENTARY
SOURCES
Anderson,
Donald,
elements ofDesign.
New
York:
Holt,
Rinehart
andWinston.
1961
Canaday,
John.
Mainstreams
in. Modern Art.
New York:
Simon
and Schuster.1959*
Janson,
H.
D.
History
ofArt.
New York:
Harry
N.
Abrams
,Inc.
19o3
McLuhan,
Marshall.
The
Gutenberg
Galaxy.
Toronto:
36
Sontag,
Susan.
Against
Interpretation.
Toronto:
Ambassador
Books.
1963-Wolfe,
Tom.
The
Kandy
Color Tangerine
-Flake