Albert J. Raboteau, Slave Religion: The "Invisible Institution" in the Antebellum South (Oxford: Oxford University Press, 1978)
Christine Leigh Heyrman, Southern Cross: The Beginnings of the Bible Belt (Chapel Hill: University of North Carolina Press, 1998)
Paul E. Johnson and Sean Wilentz, The Kingdom of Matthias: A Story of Sex and Salvation in Nineteenth-Century America (New York: Oxford University Press, 1995)
Robert H. Abzug, Cosmos Crumbling: American Reform and the Religious Imagination (New York: Oxford University Press, 1994)
Susan Juster, Doomsayers: Anglo-American Prophecy in the Age of Revolution (Philadelphia: University of Pennsylvania Press, 2003)
Nathan Hatch, The Democratization of American History (New Haven: Yale University Press, 1991)
Gregory Evans Dowd, A Spirited Resistance: The North American Indian Struggle for Unity, 1745-1815 (Baltimore: Johns Hopkins University Press, 1992)
Patricia U. Bonomi, Under the Cope of Heaven: Religion, Society, and Politics in Colonial America (New York: Oxford University Press, 2003)
Andrew R. Murray, Conscience and Community: Revisiting Toleration and Religious Dissent in Early Modern England and America (State College, PA: Pennsylvania State University Press, 2001)
David D. Hall, Worlds of Wonder, Days of Judgment: Popular Religious Belief in Early New England (Cambridge: Harvard University Press, 1989) Filed under: Uncategorized
I have a quilt hanging on my wall that my great grandmother made back on the day on her farm in southeastern Arizona. It’s got a pink background and intricate blocks made in a variety of bright colors: tourquoise, brown, yelow, blue, green. In an effort to return to my roots and reawaken my own love for quilting, I decided to make my own quilt using my great grandmother’s colors but my own pattern. I took a picture of the quilt to a fabric store and mixed and matched a whole bunch of calicos and stripes and plaids until I came up with a combination that was half-way between my own taste and the somewhat bright and 1940s taste of my great grandmother. They are nothing I would have ever chosen on my own, but as I look at the blocks, I see a strong play with color and texture.
I am intrigued with the work of color. I know what I like and what I don’t like, but I am still learning about how to actually design an appropriate palette. I like what Luke Wroblewski said about the power of color to change mood and alter opinion. I love how the color choice can distinguish my website, guide users to accessible interaction, and engage use. I have a couple of ideas about how I can use a whole palette of color for my homepage, then focus on one of those colors for each of my different areas.
The Sherwin Williams page raised another question: can color actually communicate a time period? I believe it can, but I don’t know how accurate they are with their periods. I remember visiting a historic site of a Mormon home built in the 1820s. The tour included an explanation of a recent restoration effort: they discovered the original colors were much brighter and more vivid than previously anticipated. The family, while farmers, were quite wealthy, and the amount of their wealth was displayed in the thickness of color in the paint (less wealthy people watered down their paint). At any rate, there was one room that was bright orange–the tour guide said it was the same color as the surrounding trees in the fall. So my real question is: what colors come from which time periods?
I agree with Jennifer Levasseur–the color tools offered by Professor Petrik are extremely helpful in our web design efforts. I would take it a step further–I think that rather than simply helping us to be non-abrasive, we can actually use color to control emotion and bring attention to our actual subject.
