Design and Symbolism
Passed on June 26, 1991, the Law of the Republic of Lithuania on the Lithuanian State Flag governs the design, sizes and use of the state flag. The law was last amended on July 8, 2004, with the most notable changes including the switching of the national flag ratio from 1:2 to 3:5 and the official adoption of a historical flag as the state (government) flag. The amendment came into force on September 1, 2004, after it was approved by President Valdas Adamkus.
The yellow in the flag is meant to symbolize the golden fields of Lithuania, the green is for its green countrysides, and the red represents all the blood that has been shed for Lithuania. The proper colors of both the national and state flag are made according to the Pantone Matching System, specifically Pantone textile-paper (TP). The ratio of both the national and state flag must be 3:5, with the standard flag size to be 1 meter by 1.7 meters. Different sizes of the flag can be created, but they must conform to the color codes and ratio requirements set in the law. The official Pantone colors have been published since 2004; the list below shows the official colors and their suggested equivalents:
| Scheme | Yellow | Green | Red (Purple) |
|---|---|---|---|
| Pantone | 15-0955 TP / 1235 c/u | 19-6026 TP / 349 c/u | 19-1664 TP / 180 c/u |
| RGB | 253-185-19 | 0-106-68 | 193-39-45 |
| Web_colors | fdb913 | 006a44 | c1272d |
| CMYK | 0-30-100-0 | 100-55-100-0 | 25-100-100-0 |
Read more about this topic: Flag Of Lithuania
Famous quotes containing the words design and/or symbolism:
“If I commit suicide, it will not be to destroy myself but to put myself back together again. Suicide will be for me only one means of violently reconquering myself, of brutally invading my being, of anticipating the unpredictable approaches of God. By suicide, I reintroduce my design in nature, I shall for the first time give things the shape of my will.”
—Antonin Artaud (1896–1948)
“...I remembered the rose bush that had reached a thorny branch out through the ragged fence, and caught my dress, detaining me when I would have passed on. And again the symbolism of it all came over me. These memories and visions of the poor—they were the clutch of the thorns. Social workers have all felt it. It holds them to their work, because the thorns curve backward, and one cannot pull away.”
—Albion Fellows Bacon (1865–1933)