The archive is based on a database of colour names. We have so far collected 10.000 in German, 7000 in French, and 14.000 in English. For each colour, we research its history, its ethymology, and its source, information, which is displayed on the index cards. It's an ongoing process, and we will soon launch the first revision of the archive.

Based on the database of colour names, the anagrams are generated, crossing each colour name with all the others and verifying for each permutation if the combination exists as a current word in the German, French, and English dictionaries. For some anagrams, billions of combinations exist and have to be checked. The amount of permutations is also displayed on the index cards.

For example, an anagram like 'Abecedaria', resulting from the crossing of the colour names 'aloe' and 'beer', is checked for each of its 302400 possible permutations for their relevancy in an English dictionary. Afterward, we verify that the colour names Aloe and Beer are somewhere indexed as colours. For example, 'beer' is indexed on https://encycolorpedia.com/f28e1c and 'aloe' on https://color-register.org. Consequently, we also started an entire database of resources to check the existence of colour names.

Throughout this research, we qualify colour as having a predefined meaning before applying it in an artwork. A meaning that very often is not expressed in the artwork but which codifies its meaning and expression.
Likewise, we use a constituting element of the painting—colour, its history, etymology, etc.—as the main element of the painting itself. We, therefore, research the language of colour to create 'meta' paintings as a conceptual, theoretical, and colourful investigation in the incredible history of colour, of mankind.