FOGtainer Showcase
- Thread starter semenza
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I speak for the FOGtainers, but "Festool Blue" is RAL 5004.
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Tanos sapphire blue Systainers are RAL 5003 , which is the FOGtainer color. But this is not the same color as the Festool blue for tools , as Shane mentioned.
Some info on the RAL color system just for interest ... RAL color Wiki
Seth
Some info on the RAL color system just for interest ... RAL color Wiki
Seth
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I love it when you talk FogTainers [thumbs up].
Seth, you really are the Systainer Guy! Where in the world did you found that tidbit of info?
Peter
Seth, you really are the Systainer Guy! Where in the world did you found that tidbit of info?
Peter
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Shane Holland said:
Feeling Frisky huh? [thumbs up]
Peter
ccarrolladams
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The German RAL color reference system dates to the 1920s
Newer and far more commonly used in the USA is the "Pantone" system, which really came into its own in the late 1950s and early 1960s. The Pantone Corporation was purchased by X-Rite circa 2007. Long ago there were many makers of reflection and transmission densitometers. The transition to digital reproduction reduced the market for densitometers. For 10 years X-Rite has emerged as the leading vendor.
From the early days Pantone was designed to be equally useful in all fields where color needed to be referenced and matched. It was never limited to just graphic arts, printing or paint.
For the past 50+ years Pantone and RAL have co-existed in harmony.
Newer and far more commonly used in the USA is the "Pantone" system, which really came into its own in the late 1950s and early 1960s. The Pantone Corporation was purchased by X-Rite circa 2007. Long ago there were many makers of reflection and transmission densitometers. The transition to digital reproduction reduced the market for densitometers. For 10 years X-Rite has emerged as the leading vendor.
From the early days Pantone was designed to be equally useful in all fields where color needed to be referenced and matched. It was never limited to just graphic arts, printing or paint.
For the past 50+ years Pantone and RAL have co-existed in harmony.
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Carroll,
As always you are an unbelievable source of information. I hope that you have written down even some of your knowledge somewhere for future generations to marvel at. I seriously mean that.
The Fogtainer project and also the FOGwear projects has taught me that "industry standards" may not always translate to other industries.
Peter
As always you are an unbelievable source of information. I hope that you have written down even some of your knowledge somewhere for future generations to marvel at. I seriously mean that.
The Fogtainer project and also the FOGwear projects has taught me that "industry standards" may not always translate to other industries.
Peter
JLB builders LLC
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Thats kinda what im looking for to get rid of my electrical bucket.FulThrotl said:woodguy7 said:
well, it's not in the right color container, but it's in the right type container....
ccarrolladams
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Peter,
Often it is important to be at the right place at the right time with appropriate education and experience. I had started my career in the motion picture business in 1948 while an engineering major. One of the better known aspects of the corporation where I worked were our feature cartoons. In the 1920s and into the 1930s in black and white it was not overly complicated to keep the look of character costumes consistent. The film stock was sensitive only to blue. So long as the painted cells and backgrounds were rendered with the same formulation of paint varying only in density, life was good and simple. Since nobody knew exactly what color a part of a costume should be, when toys were sold it was a matter of using similar cloth from batch to batch.
Then a fellow named Harold Kalmus improved his Technicolor process by using three colors. Now everything became far more complicated. The original designs of all characters needed to be rendered in full color. Once the designs of those character style book models were accepted, the approved paint needed to be applied to large pieces of art board, which could be cut into swatches for later reference. Other formulations of different forms of paint needed to be made so sculptures of the characters could be painted in the approved colors. Before the end of WWII that matching had to be done by eye.
Just as I started engineering school in 1948 various firms, sponsored largely by Eastman Kodak, Technicolor and ink manufacturers, began perfecting electrical densitometers. I was fortunate to get in on the ground floor of densitomitry. In the studio we could take readings of these colors, but it was very difficult to explain the results to anyone using a different densitometer. By then in addition to making the movies for showing in theaters, we also made comic books and slick magazines as well as books. Customers could compare the many toys with the way characters looked in the movies and the various publications. Cloth manufacturers and printing plants all described color in different ways.
Of course RAL had started in the 1920s while Technicolor was still a two-color imbibition process. While RAL was very useful in the paint industry, especially for automotive paints, it did not have a wide enough range or variety of color to be accepted in the motion picture industry.
I was approaching my tenth year with my studio when I learned about the way Pantone was working to produce color standards with hundreds of choices. After meeting with that firm I recommended that our studio become a Pantone sponsor. Once the Pantone swatch books were available, designs were rendered in standard colors, which we could read on our densitometers.
When making color films, the colors in the designs are not the colors to be used in actual costumes of animation cells. Those colors need to be modified to accommodate the photographic process. Also the paint used on the cell closest to the background had to be higher in value ("lighter") because the cells above would darken them. This was true in the B&W days also, so formulas were worked out as starting point.
The benefit of Pantone was that we could send reference numbers to all concerned vendors. They could pull the required Pantone swatches, read them on their densitometers and finally mix paints, inks of dyes as needed. Think of that as an outgrowth of RAL or RAL on steroids, with a wider range of choices.
Maybe Henry Ford had the right idea all along with his Model T: You can have the car in any color, so long as it is black!
As yet we speak Rolls Royce offers 20 some choices of black paint!
Say, isn't this so much fun? Every day I consider myself lucky to have survived all that to reach a point where we sell our cabinets to wholesale clients who then arrange the finishing. I now lack the patience to discuss 20 some choices of clear finish!
Often it is important to be at the right place at the right time with appropriate education and experience. I had started my career in the motion picture business in 1948 while an engineering major. One of the better known aspects of the corporation where I worked were our feature cartoons. In the 1920s and into the 1930s in black and white it was not overly complicated to keep the look of character costumes consistent. The film stock was sensitive only to blue. So long as the painted cells and backgrounds were rendered with the same formulation of paint varying only in density, life was good and simple. Since nobody knew exactly what color a part of a costume should be, when toys were sold it was a matter of using similar cloth from batch to batch.
Then a fellow named Harold Kalmus improved his Technicolor process by using three colors. Now everything became far more complicated. The original designs of all characters needed to be rendered in full color. Once the designs of those character style book models were accepted, the approved paint needed to be applied to large pieces of art board, which could be cut into swatches for later reference. Other formulations of different forms of paint needed to be made so sculptures of the characters could be painted in the approved colors. Before the end of WWII that matching had to be done by eye.
Just as I started engineering school in 1948 various firms, sponsored largely by Eastman Kodak, Technicolor and ink manufacturers, began perfecting electrical densitometers. I was fortunate to get in on the ground floor of densitomitry. In the studio we could take readings of these colors, but it was very difficult to explain the results to anyone using a different densitometer. By then in addition to making the movies for showing in theaters, we also made comic books and slick magazines as well as books. Customers could compare the many toys with the way characters looked in the movies and the various publications. Cloth manufacturers and printing plants all described color in different ways.
Of course RAL had started in the 1920s while Technicolor was still a two-color imbibition process. While RAL was very useful in the paint industry, especially for automotive paints, it did not have a wide enough range or variety of color to be accepted in the motion picture industry.
I was approaching my tenth year with my studio when I learned about the way Pantone was working to produce color standards with hundreds of choices. After meeting with that firm I recommended that our studio become a Pantone sponsor. Once the Pantone swatch books were available, designs were rendered in standard colors, which we could read on our densitometers.
When making color films, the colors in the designs are not the colors to be used in actual costumes of animation cells. Those colors need to be modified to accommodate the photographic process. Also the paint used on the cell closest to the background had to be higher in value ("lighter") because the cells above would darken them. This was true in the B&W days also, so formulas were worked out as starting point.
The benefit of Pantone was that we could send reference numbers to all concerned vendors. They could pull the required Pantone swatches, read them on their densitometers and finally mix paints, inks of dyes as needed. Think of that as an outgrowth of RAL or RAL on steroids, with a wider range of choices.
Maybe Henry Ford had the right idea all along with his Model T: You can have the car in any color, so long as it is black!
As yet we speak Rolls Royce offers 20 some choices of black paint!
Say, isn't this so much fun? Every day I consider myself lucky to have survived all that to reach a point where we sell our cabinets to wholesale clients who then arrange the finishing. I now lack the patience to discuss 20 some choices of clear finish!
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Carroll,
Your post illustrated exactly what I enjoy most about you. [thanks]
Peter
Your post illustrated exactly what I enjoy most about you. [thanks]
Peter
Carroll,
As with Peter, i am sometmes amazed with some of your explanations/reports. So many times a learning experience.
I only just came across this discussion, so my reply is actually way late. Retarded maybe? [unsure]
My mother and father were both very artistic and immaginative. I never learned a whole lot from them for various reasons I'm not getting into here. My father was one of the last to perform the work that he did using eye/hand coordination. When i got out of HS and was looking for a job to tide me over for a year before going to college (it sort of was the inconvenience to contend with if i wanted to afford further education), my father wanted me to come to work for him. The major problem for me was that he lived and worked in NYC. His work was 3D displays and models designed to be photographed for various retail businesses. I was, by then, a committed farm kid (by committed, perhaps i should explain before others come up with their own ideas., i mean as related to interested type of commitment :
) I also knew it would be a dead end job for me as i could not see myself to live up to his level of perfectionism.
Eventually, i relented by giving the work a three weeks trial period. After one week, I gave my two weeks notice and went back to fighting flies, mosquitos, extreme summer heat and eventually fighting ice and snow as a followup to the summer problems. At the time, my father was doing a rather large spread for New york Central Railroad. You probably have seen toy train layouts that are somewhat like what he was doing. He had the engines and some of the rail cars on hand to use as models. but he actually constructed his own models to scale. Houses and other buildings were constructed from photographs. He put everything together before doing his own modeling. He figured out the parallax (contortion) of camera lens and built everything according to his calculations. when he had every model constructed and placed on the large table, he then went to his camera and looked thru the lense. He would then take any item that did not look just right and redo/retouch so it would look just right. (Years later, i was asked by a famous photographer friend to build a barbecue the same way. We had to taper each and every brick and mortar joint so it would look like a real barbecue when a closeup picture was taken) He took as much time to retouch each model that did not look just right as it did to build the original layout. In the magazine advertisement, later, the whole thing looked as if the pic had been of the real thing.
One of the processes that I could not wrap my mind around was the colors. He would look at an object for color and then do a match. To me, the match never seemed to fit the color he was matching. He told me he had to adjust the "match" so it would look right thru the camera and with artificial lighting. I could never understand how he could work that out. I guess that was a good reason for me to have gone into heavier outdoor construction and eventually into landscaping. Colors were taken care of where there was no reason for me to even think of controlling.
I'm not really sure if any of this makes sense to anybody, but you have been in the movie biz, so I am sure, if you get to read this, you understand some of the craziness involved in getting things just right.
Tinker
As with Peter, i am sometmes amazed with some of your explanations/reports. So many times a learning experience.
I only just came across this discussion, so my reply is actually way late. Retarded maybe? [unsure]
My mother and father were both very artistic and immaginative. I never learned a whole lot from them for various reasons I'm not getting into here. My father was one of the last to perform the work that he did using eye/hand coordination. When i got out of HS and was looking for a job to tide me over for a year before going to college (it sort of was the inconvenience to contend with if i wanted to afford further education), my father wanted me to come to work for him. The major problem for me was that he lived and worked in NYC. His work was 3D displays and models designed to be photographed for various retail businesses. I was, by then, a committed farm kid (by committed, perhaps i should explain before others come up with their own ideas., i mean as related to interested type of commitment :
) I also knew it would be a dead end job for me as i could not see myself to live up to his level of perfectionism. Eventually, i relented by giving the work a three weeks trial period. After one week, I gave my two weeks notice and went back to fighting flies, mosquitos, extreme summer heat and eventually fighting ice and snow as a followup to the summer problems. At the time, my father was doing a rather large spread for New york Central Railroad. You probably have seen toy train layouts that are somewhat like what he was doing. He had the engines and some of the rail cars on hand to use as models. but he actually constructed his own models to scale. Houses and other buildings were constructed from photographs. He put everything together before doing his own modeling. He figured out the parallax (contortion) of camera lens and built everything according to his calculations. when he had every model constructed and placed on the large table, he then went to his camera and looked thru the lense. He would then take any item that did not look just right and redo/retouch so it would look just right. (Years later, i was asked by a famous photographer friend to build a barbecue the same way. We had to taper each and every brick and mortar joint so it would look like a real barbecue when a closeup picture was taken) He took as much time to retouch each model that did not look just right as it did to build the original layout. In the magazine advertisement, later, the whole thing looked as if the pic had been of the real thing.
One of the processes that I could not wrap my mind around was the colors. He would look at an object for color and then do a match. To me, the match never seemed to fit the color he was matching. He told me he had to adjust the "match" so it would look right thru the camera and with artificial lighting. I could never understand how he could work that out. I guess that was a good reason for me to have gone into heavier outdoor construction and eventually into landscaping. Colors were taken care of where there was no reason for me to even think of controlling.
I'm not really sure if any of this makes sense to anybody, but you have been in the movie biz, so I am sure, if you get to read this, you understand some of the craziness involved in getting things just right.
Tinker
- Joined
- Aug 28, 2012
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throw in what kind of light ,how it projects, to make it even harder
johninthecamper said:
I never really got into that. I know that things look different between incandsent, LED and floresent. Also, different films change colors. Back in 1950, there were few choices, but my dad researched everything. He knew the type of lighting and how much to be used, how many positions the lighting would be, the camera lense and angle. the distance away for the camera lense. i was not interested in all of that, and am still not. I enjoy working with wood and, sometimes, metal. i used to enjoy working with brick and stone until my chin started bumping into my kneecaps.
Tinker
tiralie
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ccarrolladams said:
I couldn't agree more. Sometimes you just need to be in the right place at the right time. Of course the reverse is true Nicchols Taleb's whole investing approach was based on the markets reaction to low probability (black swan) events. He did quite well.
ccarrolladams said:
Imbibition: the absorption of a liquid by a solid or gel. Gotta use this in a conversation today.
ccarrolladams said:
When I worked as an Art Director some 20 years ago, Pantone was the bible. Sometimes matching color is like getting two french translators to agree, no two color samples from the same book look the same in different light.
ccarrolladams said:
LOL, it's something for designers to argue about.
Tim
mouppe
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Here is something I did today with a spare FOGtainer 1 and a foam insert. My son has been keeping his chess pieces in a plastic bag- not ideal considering it is a really good quality set made of boxwood.
It would have been nice to have 4 neat rows, but they didn't fit like that. (Awful photo I know, but my iphone is on its last legs.)
[attachimg=#]
It would have been nice to have 4 neat rows, but they didn't fit like that. (Awful photo I know, but my iphone is on its last legs.)
[attachimg=#]
3PedalMINI
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That is Awesome!!! [thumbs up]
Any chance you guys will offer another "Fogtainer" ?
Any chance you guys will offer another "Fogtainer" ?
