design elements, color fundamentals by aaris sherin

5/27/2018 Design Elements, Color Fundamentals by Aaris Sherin

1/161


2/161

DesignElements:Color Fundamentals


3/161

DesignElements:

Color Fundamentals

Aaris Sherin

A Graphic Style Manual forUnderstanding How Color Affects Design


4/161


5/161

Contents

7 Introduction: Color in Design

9 Chapter 1Communicating with Color

What Is Color?Theory in Practice

Choosing a Color Palette Color Systems

49 Chapter 2 Form and Space

Form and Space Elements of DesignColor and Image

Type in Color

77 Chapter 3 Meaning and Emotion

Color and Psychology Mood and Symbolism Culture and Place Aspects of Color

Color as Identifier

113 Chapter 4Organizing with Color

Catching a Viewers AttentionSeries and Structure

Infographics Layouts Color in Motion and Media

143 Chapter 5Rules for Working with Color

Color Quick Start Ten Rules for Working with Color Real-Life Exceptions Strategies for Working with Clients

156 Contributors

159 Acknowledgments

160 About the Author


6/161

Color problems are an excellent vehicle for

developing a discriminating eye for color choice,composition and a greater understanding of whatconstitutes visual sensitivity.

Rob Roy Kelly


7/161

Why Color Matters

Color is one of the most powerful tools a designer has to communicate aclients message. It can symbolize an idea, can invoke meaning, and hascultural relevancy. Successful color relationships can determine whetherpeople buy a product or use a clients services. Color can aid in wayfinding,it can give structure to projects with multiple components, and it can showemphasis and convey mood. Whether it is suggesting space or showingmovement and rhythm, color always has a story to tell.

As much as color can help to catch and hold a viewers attention, it can alsopresent myriad challenges for the designer. The subjective nature of colormay cause a designer to shy away from using bold combinations or fromtaking risks with tone and value. Preferences for certain colors sometimesget in the way during the approval process with a client. Cultural associa-tions can lead some viewers to misinterpret information, and the technicaldifficulty of representing a color correctly on screen, in print, and on othermedia can be daunting. Fortunately, as difficult as it may seem to choosethe right hues for a project, there are numerous examples of engaginggraphic design that are made possible by successful color relationships.

Learning which colors work well together and how to create successfultonal relationships will save time and money. But more importantly, color can

help designers elicit the correct response from an audience and producestriking graphic design.

Introduction:

Color in Design


8/161


9/161

Chapter 1

Communicating with Color

What Is Color?

Theory in Practice

Choosing a Color Palette

Color Systems


10/161

10 // Design Elements // Color Fundamentals

Hue is another term for

color and the two words areused interchangeably.

Saturation also referredto as the intensity of color. Satura-tion is the strength or purity of ahue without the addition of whiteor black.

Color temperature

the perceived warmth or coolnessof a color.

Value the relative degree oflightness or darkness of a color.Adding white or black will changethe value of a color.

This subtractive model is base

on the primaries red, blue, and yellow and mosclosely mimics the artists spectrum. For designers who are used to mixing paints or pigmentsit will probably be easiest to relate to this mode

In a high-traffic area, it is color that c

attention to this sign and makes it morenoticable.

What Is Color?

In a world where first impressions are formed in as little as one-twentieth of asecond, color can help the designer catch a viewers attention and communi-cate information in a busy visual environment. Color can also help the viewerquickly make the correct association or have the right reaction to a productbrand or service. Color acts as an exclamation point, as a way to achievecompositional balance, and as a tool to suggest and convey meaning.

Color seems concrete in our physical environment, but it is actually created byvarying wavelengths of light that, when reflected off a surface, are interpret-ed as color. We see color because rods and cones, which are part of ouroptical system, are able to tell the difference between these rays and theirfrequency. The specific color that is perceived by a viewer is determinedby the degree to which a surface is able to reflect light and produce rays ofdifferent lengths. Reds have the longest wavelengths and violets have theshortest. White contains all color and black is produced by the absence of

color or a surface where no visible light can be reflected.

RED

BLUE

YELLOW


11/161

Chapter 1 // Communicating with Color //

Color is produced by light, but how light waves reflect offdifferent surfaces changes how hues are perceived. Similarly,the same shape appears to be different when various colors areapplied to it. Design: Answr Inc., Tokyo

One often thinks of applying color to alarge area in a design, but sometimes less ismore. In this composition, the image is theprimary carrier of color.Design: Bob Wilkinson, Abuja, Nigeria

The hues that can be distinguishedby the human eye are referred toas the visible spectrum and arecomposed of a fairly limited range ofcolors, including red, orange, yellow,green, blue, blue violet, and violet.In their absolute form, the visiblespectrum can be further limited tocolors, which are most different fromeach other. These hues are referredto as primary colors and include red,blue, and yellow. A small change inthe frequency of a primary color will

cause the eye to perceive a new hThe human eye is able to discernabout 10 million colors, all of whicare combinations of the basic primries. Since light creates color, it alaffects how we perceive hues andtheir value and intensity. Strong ligintensifies color and low light dullsit. In extremely low light conditionsome colors may barely be visibleand it can be difficult to distinguisbetween hues of similar value.


12/161


Saturation (Also Referred to as Chroma)

A more saturated hue is stronger, more vivid,and/or brighter. Duller colors are referred to asbeing desaturated.

Whether a color appears to be saturated will besomewhat dependent on what colors it is nextto. Understanding which hues appear to be vividwill allow the designer to use intense colors toachieve greater visual impact.

Color Temperature

The temperature of color refers to a measurement or, the power, in degreesKelvin that indicates the specific hue of light present, but in most situations,temperature is understood as the difference between warm and cool hues.How the human eye recognizes color temperature will vary depending onthe light source. Lower color temperature implies warmer light (yellow and/orred) and higher color temperature usually suggests cooler tones (green and/or blue).

There are several implications for design when considering color tempera-ture. The temperature of the hues within a layout can affect an entire com-position. Also, when creating design work on a computer, the temperatureof the monitor can change how colors are perceived on screen. Calibrationutilities that are built into operating systems (as in the case of Apple prod-ucts) and special software can measure a monitors color temperature andadjust it so that what is seen on screen matches the intended output more

closely. Calibration is particularly important when working with digitalphotography and digital prepress.

This highly saturated palette manages toinclude numerous colors and shapes withouappearing to be too busy.Design: Diego Giovanni Bermdez Aguirre,Valle, Colombia


13/161


Bright yellow accented by orange is combineda red violet hue to give this poster an intensity that characteristic of bright, warm colors. Design: AntonPerez Gonzalez iko, Xalapa, Mexico

One might think that a poster about water should have a cooltemperature, but this composition stands out because it uses blueas an accent on a warm red background. Design: Fernando Revollo,Cochabamba, Bolivia

Highly saturated color palettes are effective at gett ing aviewers attention, but in this case, the designer chose to use slightlyduller colors on a bright white background. The light backgroundcontrasts with the shapes and makes them more noticeable. Design:Rubn Moreno, Caracas, Venezuela


14/161


Color and Value

Value is the relative lightness or darkness of a color and is an important toolto add emphasis and establish visual hierarchy within a composition. On itsown, color is stronger than value. For instance, a gray tone will blend into aseries of similarly colored shapes, but adding a color to one of those shapeswill make it stand out. The effect of value on a composition is relative and isdetermined by the lightness or darkness of all the other elements within alayout. The greater the difference in value among compositional elements,and against the background, the more contrast there will appear to be.

Therefore, value is one of the best ways to achieve contrast in design.

Notice how the same color gray appears to different depending on whether it is next to adarker or lighter tone and if it is in the foregroor background.

Altering value is an easy way to indicate heirarchyand relative importance. By changing the valueof one circle, more emphasis is placed on thecomposition on the left.

Value can be an excellent tool for showing relative importance. Twoshapes of equal size and value will appear to have equal importance.However, if the value of one of those shapes is altered, the darker orbrighter value will stand out and seem to have more significance.

Value can also be used to show movement or to make a viewers eyetravel around a composition. Making some objects within a compositiondarker and others lighter will cause a viewer to first look at what standsout most and then at what stands out least.


15/161


Value and intensity can be brokendown into seven visible steps. These arethe maximum variations that will be dis-

cernable to the human eye.

Altering the value and intensity of huesused within a composition is one of theways that a designer can achieve visualharmony within a composition. Since aviewers perception of color is always rela-tive, one can make colors seem brighterby putting them next to duller tones.

Changing the value of some ele-ments in a design is an excellent wayto make certain parts of a composition

stand out. These two value studies arean example of how different the samepiece can seem when varying degreesof gray are applied to elements withinthe composition. Design: Lindsey Burris,Rochester, New York (courtesy of BruceIan Meader)

White

Tints

Hue

Shades

B


16/161


Why It Matters

Color theory is most useful to designers becauit can allow them to understand why some colorelationships are successful and how to createcolor combinations that can be used to effectivcommunicate information. Color theory is a valable tool, but it wont always lead to predictablreal-world results. The basic goal when dealing

with color is to produce pleasing color combinations. These groupings are commonly referred as being in harmony. Rather than referring to aspecific set of attributes, harmony has more towith achieving the intended reaction than it doean absolute set of rules or attributes.

Theory in Practice

Scientists and artists have studied the effects of color and the relationshipsthat different colors have to each other for centuries. A variety of theories,rules, and ideas have developed to explain how color is perceived and howthis information can be applied to art, science, and design. While it is notnecessary for designers to be familiar with every one of these principles,understanding the basic relationships between colors and combinations ofhues can help a designer make better and faster decisions. By employingknown principles and rules, it is easier to create work that is visually pleasingand better at conveying a clients message.

Green and yellow green are thedominant hues used in these stamp desbut the warmer red tone provides a useaccent to emphasize imagery. Design:Suunnittelutoimisto BOTH, Helsinki, Fin

This poster references primary coloeven though a yellow green tone is usedrather than pure yellow. Design: RubnMoreno, Caracas, Venezuela


17/161


Color Combinations

Designers have an endless numberof color schemes to choose from.

These pairings can positively impacta design, but they can producenegative consequences as well.Depending on the specifications ofa project, it may be appropriateto create a palette by choosingknown color combinations, while inother instances, creating groupings

that are based on research or theattributes of the target audience willproduce the best results. The benefitof working with known pairings isthat they can provide a starting pointfor inexperienced designers andare ideal for designers who excel atworking within set limits.

These color studies show what a difference color and value can makein a composition. The first example doesnt have enough contrast.The second effectively uses an analog color scheme, and the paletteof the third version of the poster works well but doesnt match thecontent. Design: Stephanie Boland, Rochester, New York(Courtesy of Bruce Ian Meader)


18/161


Color Wheels and Models

Artists, designers, and scientistshave developed numerous modelsto visually compare colors and howthey interact with other hues. Thesewheels or diagrams are commonlyused to show the relative relation-ships between particular hues. De-signers and other visual artists mostoften use the subtractive mixingsystem when creating color models

because it most closely mimics whathappens when paint or another pig-ment is put on a reflective surface.

These models tend to be easiest forvisual designers to understand, butthere are also color wheels based onthe subtractive printing process andeven ones based on light. Additivecolor mixing closely mimics howlight stimulates the eye and this sys-

tem is used in screen design. Coare categorized depending on th

placement on the color wheel anon how they react to other hues.Understanding the most commogroupings of colors will enable onto choose pairings that have predable visual results.

Primary colors create a distinctive colorpalette for this college recruitment poster.Design: Alex Girard, Santa Barbara City ColleSanta Barbara, California

Basic color wheel: This diagramof a basic color wheel provides an excellentreference tool to see the relationships betweencolors when working on design projects.

Warm and Cool Temperature Colors:The color wheel is divided into warmand cool hues.

Design of color wheel diagrams:Bruce Ian Meader, Rochester, New York

Warm Hues

Cool Hues

Yello

w

Violet

Orange

Blue

Green

Red

Yellow

Orange

Blue

Violet

Ye

llow

Gre

en

Blu

eGre

en

Red

Orange

Red

Violet


19/161


Primary colors include red, yellow,and blue and are pure hues, which are unrelatedto each other. By mixing the right amount ofprimary colors, it is possible to create any colorin the spectrum.

Primary Colors

Secondary colors include violet,orange, and green. They are made by combin-ing equal amounts of two primary colors.

Secondary Colors

Tertiary colors are located betweeprimary and secondary hues on the color whand have more of one primary color than theother. How a tertiary color appears will depeon which primary color is dominant in the mi

Tertiary Colors

Split complementary colors provide the basisfor the color palette for this design. Design:Matthew Brownell, Rochester, New York(Courtesy of Bruce Ian Meader)

Complementary hues are any twocolors located directly opposite or across fromeach other on the color wheel. There are a totalof six pairs of complementary colors. Comple-mentary colors have a contradictory relationshipwith each other. A color is both attracted to andrepelled by its complement. The push/pull of thecomplement can be used as a way to attract aviewers attention.

Complementary Hues

Split complementary huesrefer to a primary color and two secondary colorsthat are located adjacent to the hues comple-ment on the color wheel.

Split Complementary Hues

WarmHues

Cool Hues

WarmHues

Cool Hues

WarmHues

CoolHues

Yellow

Violet

Orange

Blue

Green

Red

Yellow

Orange

Blue

Violet

Ye

llow

Gre

en

Blu

eGre

en

RedOrange

Red

Violet

Yellow

Violet

Orange

Blue

Green

Red

Yellow

Orange

Blue

Violet

Ye

llow

Gre

en

Blu

eGar

een

RedOrange

Red

Violet

Yellow

Violet

Orange

Blue

Green

Red

Yellow

Orange

Blue

Violet

Ye

llow

Gre

en

Blu

eGre

en

RedOrange

Red

V i o l e t

Yellow

Violet

Orange

Blue

Gre

en

Red

YellowOrange

BlueViolet

Yellow

Green

Blu

e

Green R

ed

Orange

Red

Violet

Yellow

Violet

Orange

Blue

Gre

en

Red

YellowOrange

BlueViolet

Yellow

Green

Blu

e

Green R

ed

Orange

Red

Violet


20/161


Analogous colors make up the basis foroverall color scheme of this poster. Yellow is bright accent against the green and blue paleDesign: Gtz Gramlich, Heidelberg, Germany

A triad palette is used for this color studUsing tints increases the number of tonespresent in the composition. Design: ChrissyBuettner, Rochester, New York(Courtesy of Bruce Ian Meader)

Analogous combinations refer toa primary hue and two adjacent hues next toeach other on the color wheel. Analogous colorcombinations tend to be harmonious becausethey reflect similar wavelengths of light.

Triad harmonies are any three hues

spaced equidistantly around the color wheel.Because primary and secondary colors areequidistant from each other, they combine tocreate triadic color combinations.

Design of color wheel diagrams:Bruce Ian Meader, Rochester, New York

Analogous Combinations

Triad Harmonies

Yellow

Violet

Orange

Blue

Gre

en

Red

YellowOrange

BlueViolet

Yello

w

Green

Blu

e

Green R

ed

Orange

Red

Violet

Yellow

Violet

Orange

Blue

Gre

en

Red

YellowOrange

BlueViolet

Yello

w

G

reen

Blu

e

Green R

ed

Orange

Red

Violet


21/161

+


This color study makes use of atetrad palette. By using some colors adominant tones and others as accentsit is possible to effectively incorporate four hues within the same compositionDesign: Chrissy Buettner, Rochester,New York (Courtesy of Bruce Ian Mead

A monochromatic palette is used for thiscolor study. Using tints and shades gives theappearance of a varied and interesting colorpalette while saving on printing costs. Design:Kevin John Buntaine, Rochester, New York(Courtesy of Bruce Ian Meader)

Monochromaticrefers to variations of a single hue that includetints (the hue plus white) and shades (the hue plus black). Like analo-gous colors, monochromatic color combinations are considered to be

harmonious. This may be the reason that one-color palettes are oftenso successful in design solutions.

Tetrad combinations are made up offour hues, which are sets of complements orsplit complements.

Tetrad Combination

Yellow

Violet

Orange

Blue

Gre

en

Red

YellowOrange

BlueViolet

Yello

w

Green

Blu

e

Green R

ed

Orange

Red

Violet

Hue WhiteTints

GrayShades

Black


22/161


Masters of Color

Johannes Itten was amasterat theBauhaus, in Weimar, Germany, inthe 1920s and is considered to beone of the greatest teachers of color.Itten believed that while there aresome predictable color relationshipsand outcomes, much of how artistsand designers use, and audiencesperceive, color is subjective and de-termined by context. He suggestedthat studying the relationships thathues have to each other and how

they work in context would allowartists and designers to hone theirsensitivity to color and make moremeaningful choices. In the book,The Elements of Color,Itten notedthat a practitioner can achieve suc-cessful color solutions in three differ-ent ways. The first is visually (whichhe called impression), the second isemotionally (which he called expres-sion), and the third is symbolically(which he called construction).

The proximity of hues to each other chahow they are perceived. Here, virtual depth isated by overlaying different colored type. DeUwe Loesch, Mettmann, Germany

Ittens color wheel: This diagramhelps show the interactions between colors andincludes primaries in the middle as an indicator ofhow colors can be mixed to produce new hues.

Ittens ways of approaching color:Impression (or visually)Expression (or emotionally)Construction (or symbolically)


23/161


Josef Albers, a legendary coloristand painter, was a student of Ittensat the Bauhaus, where he went onto teach after he graduated. Whenthe Nazis closed the school in 1933,

Albers emigrated to the UnitedStates where he taught first at BlackMountain College and then at YaleUniversity. He worked extensivelywith color as an artist and educa-tor. At Yale, Albers explored color,its relationships, and its effects onhis students. He famously said thatif you asked fifty students what they

saw when they saw red you wouldcome back with fifty different reds.This subjectivity can be challengingfor the designer unless they under-stand how to mitigate the differ-ences in perception and can createcolor combinations, which are morelikely to achieve the intended result.

Albers Color Studies: Joseph Albers created numerous colorstudies to show the relationships between hues. Here the small squares in thecenter of the composition are the same color but appear to be different be-cause of the colors that surround them. These examples show how a viewersperception of color is relative and will always depend on what it is next to.

Albers focused on what happenedwhen colors interacted with eachother, as often happens whenhues are placed together within asingle composition. He put stu-dents through exercises that weredesigned to hone their ability tocreate effective color groupings.Both Albers and Itten believed thatrelatively subtle variations in colorgroupings and tonal values couldproduce interesting results and thata persons ability to make success-ful color choices could be improved

with practice and study.


24/161


Color Exercise 2

This project is designed to testa persons ability to perceptuallymix color. Students are asked toselect two colors that have differ-ent values and hues. Then they areasked to select a third color thatthey perceive to be the color thatwould be created if these two colorswere mixed. Finally, the students arechallenged to select a fourth colorthat will give the perceptual effect ofoptical transparency.

Color Exercise 1

Exercises 2 and 3 are taken fromAlbers classic book, The Interactionof Color, and are designed totest a persons ability to perceivevalue in color. Albers believed thatvalue was just as important as hueand intensity.

Using Color Aid paper, studentsbegin by selecting four valuesof two different colors, preferablycolors that are on opposite sidesof the color wheel. The goal is tomatch the values of the hues asclosely as possible. Students are

asked to superimpose one set ofthe four colors inside the otherset, and vice versa, to show thesuccess of their choices.

Color study using Color-aid paper: BrianaBrown, New York City (Courtesy of Paul Fabozzi)

Color study using Color-aid paper: JohanaMuoz, New York City (Courtesy of Paul Fabozzi)

Color study using color-aid paper: BrettKalwarski, New York City (Courtesy of PaulFabozzi)

Color study using color-aid paper: KittyYeung, New York City (Courtesy of Paul Fab


25/161


Color study using Color-aid paper: KittyYeung, New York City (Courtesy of Paul Fabozzi)

Bezold Effect

This project was designed by PaulFabozzi to illustrate the BezoldEffect. Wilhelm von Bezold (18371907) was a German scientist whowas involved with textiles, and inthe course of his research, he notedthat a single color change in a pat-tern affected the appearance of allthe remaining colors. The projectillustrates how much the overallvisual effect of a group of colors canbe changed by replacing oneof those hues.

a. Choose four colors of differentvalues that work together.It is important to be sensitive towhether the colors absorb orreflect light (it is difficult to havemore than one reflective colorin a successful grouping offour colors).

b. Test the colors for proper valuebalance by placing colors next toeach other.

c. Once a satisfactory group offour is chosen, change theoverall visual effect by replacinone of the colors. Then replacthat color again, creating threecombinations.

d. To show how the colors willreact with each other in acompositional space, the threcombinations are used in asimple design that is madeby dividing a rectangle so thatthe shapes share surface edgwith other shapes as frequent

as possible.


26/161


One of the main tenets of color theory suggests that our vision is alwaystrying to achieve equilibrium or to arrive at neutral. Theorists haveproposed that a persons perception of color can be influenced by aphenomenon in which the brain creates a complementary afterimage ofa color. This idea is supported by several experiments that show that ifa person stares at one block of color and then quickly looks away, hewill see the complement of that color. The implication is that the eyeis always searching for symmetry or to find the balance, which comeswhen a hue is combined with its opposite.

Achieving Harmony

The choices one makes whenselecting colors is often referred toas trying to achieve color harmony.Rather than a strict set of rules,harmony suggests a pleasing ordispleasing combination of hues inrelation to an overall composition.Harmonic pairings can be made upof colors that have similar inten-sity, or they may include tones thatsharply contrast each other. Wheth-er certain hues create a harmonic

palette remains somewhat subjec-tive, but color theory offers somereasons why particular colors worktogether better than others. Colorgroupings are always affected byother elements in the composition,such as image, type, format, andeven the content that is being com-municated. In most cases designersare trying to achieve attractive orpleasing color combinations, but insome instances displeasing or non-

harmonic combinations may help adesigner realize her desired result.

By using tints and shades, a complemebased palette is visually engaging and sophiscated. Design: Subcommunication, Montrea


27/161


Complementary colors and illusion create aneye-popping design. Even though the composi-tion doesnt encourage harmony, the eyes natur

desire for balance is fulfilled because the complements will create a neutral when mixed.Design: LSDspace, Madrid, Spain

The reason why the brain producesafterimages isnt fully understood,but one explanation proposes thatgazing at a color causes the colorreceptors in ones eye to becomefatigued, and in an effort to restorenatural balance, these receptorscreate a complementary afterimage.

The color produced is the samevalue and intensity as the original

hue. A designer or artist can use thebrains desire forbalanceto theiradvantage by using hues, which,when combined, will create neutraltones. This theory can influencehow color is used in design becauseharnessing the eyes natural tenden-cies can allow the designer to moreaccurately predict how a viewer willexperience a visual composition.


28/161


Interaction and Proximity

A viewers perception of color will al-ways be determined by what colorsare present elsewhere in the compo-sition. A white square on a blackbackground will appear to be largerthan the same size black squareplaced on a white background.Similarly, a light gray will look lighteron a dark background than it will ona white background. In situations ofsimultaneous contrast, how a coloris perceived is altered by what other

colors it comes in contact with. Forinstance, red on green can producea ghosting effect. Before placingtwo colors next to or on top of eachother, the designer should considerwhether the colors will be subject tosimultaneous contrast and whetherthat interaction may change the waythat content is perceived.


29/161


This nontraditional Christmas card is aperfect example of how differently one perceivescolor depending on what hues are next to eachother. Design: Domingo Villalba and YessicaSilvio, Caracas, Venezuela

Yellow and purple visually vibrate against eachother, and each color makes the other more noticeable.Design: Horacio Guia, Caracas, Venezuela


30/161


In most cases, a designer will built-in color picker in a softwprogram to specify particular cHowever, in some cases, a jobrequire the selection of coloredpaper or other materials for prproduction. Pantone and/or otswatch books (see page 40) aonline applications, such as CScheme Designer (see page 1can also help with color select

Choosing a Color Palette

Many systems can be used to select hues for a successful color palette.Which one a designer uses should be based on the specifications of theproject, some degree of trial and error, and personal preference. Color varia-tions can be derived by mixing a hue with white (which produces tints) orwith black (which produces shades), or by mixing one color with another tocreate a completely different hue.

Designers may embrace the intensity produced by a palette that includesnumerous colors, or one may decide to limit the number of colors used in aproject. Limited color palettes have several benefits. If a job will be producedusing offset printing, a one- or two-color job will result in significant cost sav-ings for the client. Compositions created with limited color palettes tend tostand out in an oversaturated market. Using models and known systems isan excellent way to start making effective design decisions.

Using one color plus a tint is a great way toachieve visual interest while keeping a color pal-ette extremely limited. The combination of orangeand white is sure to be noticed, even on shelvesfilled with similar products.Design: Maris Maris, New York City

Fully saturated hues of orange and purphave been applied to the photos as well as tshape and type. This unifies the compositionwhile still presenting a clear visual hierarchy.Design: Subcommunication, Montreal


31/161


The Dominant, Subordinate,

and Accent System

One successful system of pickingcolors relies on the use of dominant,subordinate, and accent hues. Thismodel provides both structure andvariation, and offers nearly limitlessoptions. Begin by choosing a domi-nant tone that complements themessage. Then choose one or moresubordinate colors. Lastly, selectan accent that can be used spar-ingly in the design and will create aharmonious combination with thedominant and subordinate tones.

A good way to test whether colorpairings are effective is to vary onehue at a time. Try altering the paletteby replacing one of the originalhues with its complement. Thentry replacing it with a neutral. Altersaturation and see if any of thesevariations results in a more pleasingcombination. Slight variations makea big difference, so it is important totest several seemingly successfulcombinations on the project contentbefore making a final decision.

These book spreads provide an excellent example of the dominant, subordinate, and accent sys-tem in practice. The palette is made up of orange, yellow, and black. In most cases, orange is used asthe dominant tone, but the system allows for enough variation that yellow and black can be dominanton some pages as well. Design: Uwe Loesch, Mettmann, Germany

Dominant

Subordinate

Dominant

Subordinate


32/161


Meaning-based Method

for Harmonizing Colors

This method will create a palette from any base color. It is a good techniqueto use when a job requires one specific hue to be part of an overall palette.Start by choosing a color that elicits the correct response and adheresto the clients message. Then add a complement of the same value andintensity. Now take these two colors and transform them into their oppositesin value and intensity. This process is easy when working in a software pro-gram that has a color picker or by using an online application such as ColorScheme Designer (colorschemedesigner.com; see page 118). The resultantcolors will be harmonious. One can make slight alterations to the shade ortint and then choose which hues in the combination will be appropriate asdominant and accent colors.

To further experiment using this method, try replacing one of the colors withseveral different hues, one at a time, to see if the resultant combination cre-ates more pleasing visual relationships.

The color used in these compositions ispicked up from the image. By repeating it, thdesigner ensures that the composition seemunified and that the image will be the focal pDesign: Paone Design Associates, Philadelp

Choosing the right colors for a project is

the beginning. It is also important to test howhues interact with one another. Placing certacolors next to each other can add emphasisand show importance. It can also change hocomposition is perceived. In these color studwhere color is placed affects which shapes sto advance and recede.


33/161


Progressive

This system refers to a sequence in

which a color or colors change inconstant steps from dark to light orlight to dark, and results in the ap-pearance of continual progression.Progressive value shifts are particu-larly good at producing color palettesthat include three or more hues.

Repetition or Reoccurrence

Repeating and/or showing the reoc-currence of one or more hues and/or its shades and tints is a great wayto unify a composition or to showsimilarity among multiple compo-nents. This system can be used withalmost any color combination butis likely to be most effective and/or most noticeable when used withlimited palettes.

Repeated color sequences can referencmotion or depth and create the appearance optical illusion. In real-world projects, sequen

are usually most effective when they are varieand/or are used to create a pattern.

By using shades of red and magenta as as the colors at their full strength, the designis able to make a harmonious palette out of aunusual combination of colors.Design: Melchior Imboden, Buochs, Switzerl

Progressively lighter tints of blue create harmonious color palette while also produciinteresting compositional space.Design: Uwe Loesch, Mettmann, Germany


34/161


One-Color Palettes

One-color palettes can be a greatway to reduce the cost of printingand to create simple yet effectivelayouts. When choosing this system,the designer often starts with anintense or bright hue. Then its tintsand shades can behave like subor-dinate and/or accent hues. It is alsopossible to use only one value of acolor and let the paper or groundcreate the variation within thecomposition. If the goal is to lessenthe cost of producing print design,colored or textured paper can give

the appearance of more than onecolor, even though only one printingplate is used. One-color palettes arealso a good choice if the final designsolution will exist in a busy visualenvironment or when the end resultwill be seen on screen.

When applying color to pages, a designcan choose a paper or other material that cowith its own color or texture. This is a great to make one- or two-color printing more colDesign: Shual Studio, Ramat-gan, Israel

Even though cost savings is one of the mainreasons to use one- or two-color palettes, limitingthe number of colors used in a composition willsometimes draw attention to a particular elementor area of the design.Design: Bob Wilkinson, Abuja, Nigeria

The tint of the dominant blue is used as an accent,and the white of the paper gives the appearance of atwo-color job. Design: David Frisco, New York City

The mastheads of these magazines change color, but the restof the covers are produced in full color. Limiting the hues used in themasthead allows the issues to be easily differentiated.Design: Seitaro Yamazaki (Macla, Inc.), Tokyo


35/161


Two-Color Palettes

Two-color palettes can produce highly effective graphic design while stillallowing abundant creative freedom. Two-color combinations may includetones, which have well-known relationships such as those illustrated in thecolor wheels (see pages 19-21). They may rely on one hue to be dominantand another to be subordinate and they may even include unusual or quirkycombinations that are designed to attract attention rather than be harmoni-ous. Two-color palettes provide great cost savings for offset printing, whileallowing for greater flexibility than one-color or monotone palettes.

Though this composition technically usesthree colors, the effect is still of a two-colordesign. The black stands out against the yellow,and the slight gradient keeps the backgroundfrom looking flat. Design: STUDIOKARGAH,Tehran, Iran

When simplicity is key and a compositiolies on shape, two colors can be extremely etive at communicating a message and catcha viewers attention. Design: Juan Carlos DarCorpas, Caracas, Venezuela

Using red and black with the white as an oc-casional accent allows the type to stand out andthe negative space to be just as interesting as thepositive. Design: Domingo Vi llalba and YessicaSilvio, Caracas, Venezuela

This poster shows how much can be ac-complished using simple elements and tints ofthe dominant color. Design: Adrin FernndezGonzlez, Asturias, Spain


36/161


Black and White

Just because a design doesntuse color, doesnt mean it cant bepowerful and effective. Choosing touse only black and white may be theresult of budgetary constraints or itcan be a specific design decision.Black-and-white design solutionsare very effective at visually commu-nicating information to an audience.

This illustration uses a style that is reminiscent of individuapixels, which is perfect when paired with the text my favorite is Shape and text are able to communicate the message wout the addition of color. Design: 2FRESH, London, Istanbul, P

When a composition relies on shape andtype, limiting ones color choice to black andwhite adds emphasis. Design: Seitaro Yamazaki(Macla, Inc.), Tokyo

Black and white has two purposes in this composition. The blackbackground provides optimum contrast and the white, in the shape ofa beam of light, continues the visual metaphor of the flashlight.Design: Garth Walker, Durban, South Africa


37/161


Different Blacks

When a large area of a compositionis black, the printer will usually askthe designer to use a special com-bination of CMYK to produce richprint-friendly black. This combina-tion is created by mixing 60 percentcyan, 40 percent magenta, 40 per-cent yellow, and 100 percent blackink and can be specified with thecolor picker in design software. The

resultant color-rich black providesgood coverage and is pleasing tothe eye, but it should only be usedon large areas of black color. Blackbody text should be specified as100 percent black or K. It is helpfulto create swatches of text black andrich CMYK black so that it is easy totoggle between the two.

This identity for a TV station can be customizedusing a variety of visual elements. The designers chose touse only black and white so that the piece would stand out ina full-color digital environment. Design: Lava Graphic Design,Amsterdam, Netherlands

C 000M 000

Y 000K 100

C 060M 060

Y 040K 100


38/161


Color Systems

How color is created depends on where it will be seen and how a com-munications piece will be produced. RGB, CMYK, and Pantone are threeof the most commonly used color systems in design, but they are not theonly ones in existence. In some countries, other matching systems suchas TOYO, ANPA, or DIC may be used. Fortunately, software programslike Adobe Photoshop, Illustrator, and InDesign all include numerous colorprofiles and systems in their swatch libraries.

This poster highlights the benefits of using amulticolored palette as a design element in and oitself. Since this poster would be printed, CMYKis the best color system to use.Design: Katsui Design Office, Tokyo

CYAN

BLACK

MAG E N

YELLOW


39/161


CMYKis a four-color subtractiveprocess, which includes the colorscyan, magenta, yellow, and black.

The process is considered to besubtractive because the inks thatare used for printing subtract, ormask, the background (which isusually the white of the paper) usinga halftone dot pattern. Colors areproduced by combining CMYK inkcolors and partially, or fully, printingthem on a white background. CMYKis used in offset lithography, andin most cases, a designer will be

required to change all graphics andimagery to CMYK before sendingfiles to a printer.

Standardized SWOP guides areused in the United States, Europe,and Asia. They show the percentageof CMYK values that are neededto create a particular hue to ensurethat the colors specified will matchthe finished print product. How colorappears on print media will alsobe determined by the paper stock(whether it is coated, uncoated, ormatte), and whether a varnish oraqueous coating has been appliedover the ink.

This image has been separated into distinct channels of each CMYKcolor. Printers sometimes maximize the amount of black in the separationprocess as a way to save ink. In such cases, the black plate will be moresaturated than in this example.


40/161


Pantoneis a proprietary color

system that allows printers and

designers to accurately commu-nicate and produce specific color

choices. The Pantone Matching

System allows a designer to se-

lect and specify a particular Pan-

tone color that will be matched

exactly by the ink used by a

commercial printer. The Pantone

Formula Guide is a three-guide

set consisting of 1,114 solid Pan-

tone colors, which can be used

on coated, uncoated, and mattestock. The guide is extremely

popular and is used by the de-

signer to specify the color and by

the printer to create the corre-

sponding ink formulas needed to

produce each color on a specific

type of paper.

Specifying a Pantone color will ensure that print materials,

like these, are all produced using exactly the same colororange. Design: Suunnittelutoimisto BOTH, Helsinki, Finland

Bright colors and lively shapes combined w

simple white type create a vibrant composition.Design: Sebastian Guerrini, La Plata, Argentina


41/161


Green is commonly associated with theenvironmental movement and organic or otherwisehealthy products. This website for the OrganicWorld Foundation uses green as a component inthe design but also incorporates rich orange, yel-low, and blue tones, which add value and original-ity. Design: Sebastian Guerrini, La Plata, Argentina

RGB is an additive color system

that uses the base colors red,

green, and blue to produce a widevariety of colors. In the RGB palette,

white is the additive combination of

all the primary colors and black is

produced by the absence of light.

Screen- and display-based design

uses the RGB color system and

even some large-format printers use

RGB-based color interpretation sys-

tems or profiles that will then print

with CMYK ink. TVs video screens,

monitors, mobile devices, and cam-

eras all use the RGB system.

RED

BLUE

GREEN


42/161


Color Forecasting

Choosing successful color combina-tions is big business. In the fash-ion and interior design industries,specialists are often asked to helppredict which colors will be popularat a given time or for a particularaudience. Color forecasters createreports on which colors, textures,and trends are likely to be widelyadopted and sell well in future sea-sons. The information collected bythese companies can be accessedby purchasing reports or by sub-scribing to ongoing memberships.

The Color Marketing Group (www.colormarketing.org) assists profes-

sionals with industry- and location-specific color information and isa resource for color trends. ThePantone Color Institute (seewww.pantone.com) also publishes sea-sonal forecasts that are available inshort form online and as download-able PDFs free of charge. In mostcases, choosing colors for a specificgraphic design job is more likelyto be determined by the messageand the target audience than byseasonal trends. However, in certaininstances, using color forecasting

may help produce current and timelycolor choices.

This design for special wallpaper is unand colorful. This kind of palette will mostlikely appeal to a buyer with specific taste whdoesnt care about seasonal trends.Design: Answr Inc., Tokyo

Spreads showing different types of tudu(traditional head coverings) feature diverse coand patterns and are made even more intereby placing the models on multicolored back-grounds. Changing the color and pattern of common clothing item is one way to keep it and new season after season.Design: Cheah Wei Chun, CLANHOUSE,Singapore

Forecasting is used by the interior design industry to anticipate which colors and combinations arelikely to be popular in the future. However, when one is creating an interior space that is meant to last, itis usually best to use a color palette that isnt time specific and will hold up to changing tastes.Design: Seitaro Yamazaki (Macla, Inc.), Tokyo
http://www.colormarketing.org/http://www.colormarketing.org/http://www.pantone.com/http://www.pantone.com/http://www.pantone.com/http://www.pantone.com/http://www.colormarketing.org/http://www.colormarketing.org/


43/161



44/161


Inspired by the idea that design canhave a positive impact on peopleslives, designer Miguel Neiva createdColorAdd (www.coloradd.net), a

project that helps people who sufferfrom color blindness. Neivas solu-tion targets people who might needto use color in a professional setting,such as design, fashion, interiordesign, or architecture, but it alsoprovides a system to make colorchoices easier in users everydaylives and for navigational tools suchas maps. The project is still in theconcept phase, but Neiva has ap-plied his graphic system to a variety

of applications including hospitalmaterials, maps, school supplies,and clothing tags.

Color Blindness

Color blindness or the inability tosee certain colors occurs predomi-nantly in men and affects about 10percent of the population worldwide.It is usually genetic. It is incurable,and how it manifests can vary fromperson to person. People with colorblindness are often unable to distin-guish between certain colors. Somepeople are completely color-blind(this condition is extremely rare), butmost have difficulty seeing one ormore colors, such as red and green.If a person is aware of the problem,

he may compensate by learning toguess the identity of colors or byonly wearing tones and shades thathe recognizes. The U.S. Army foundthat men with color blindness wereable to see camouflage colorsbetter than those with normal vi-sion. Not seeing every color mayhave occasional benefits, but formost people, color blindness is aninconvenience and may cause socialembarrassment.

This graphic is based on the Ishihara tefor color blindness, which were developed toidentify whether a subject has problems seered and/or green. Those with color anomaliemay not be able to identify the shapes in theor may see a different pattern from a personfull vision.

The project includes an additive graphic

symbol system for identifying colors, which canbe applied to clothing tags and other productlabels. The graphic elements can be integratedinto users visual vocabularies and they can beapplied in small dimensions in a variety of set-tings. Design: Miguel Neiva, Porto, Portugal
http://www.coloradd.net/http://www.coloradd.net/


45/161


in women because two cone celpigment genes are located on thx chromosome. There are relativefew tetrachromats (about 2 perceto 3 percent of women worldwidso theres no need to design forsuper color visionjust yet.

Super Sight

Humans can perceive millions of

distinctive colors, but some of ussee better than others. Scientistshave found that a small number ofpeople can actually see anothercone between red and blue. Knownas tetrachromats, these women maybe able to perceive 100 times morecolors than most of us. This kind ofsuper color vision is only possible

The goal of ColorAdd is to provide a publicservice and to give autonomy to people whosuffer from color blindness.Design: Miguel Neiva, Porto, Portugal


46/161


Color and Texture

Texture is frequently overlooked asa variable in design applications. Itcan be used as a background, tofill a shape or a letterform, or evenas an accent. Combining colorand texture can enhance a layout,achieve greater visual interest, andaid in communicating a mood ormessage. Texture is used by design-ers who want to give something a

handmade or unusual look and itmay come from photographs, fromthe material on which pieces areprinted, or by creating an overlay ofa seemingly unrelated visual. Whencombined with color, texture canmake an overall design feel more in-dividual and provide a specificity thatwill be attractive to some clients.

Red is a typical color to use with the heshape, but the use of photographic texture kthis composition from being predictable.Design: Ricardo Villoria, Langreo, Spain

The design of this magazine spread relies on the visual texturecreated by restaurant menus. The designer wanted to highlight thethat similar colors and fonts are used by many pizza places.Design: Martijn Oostra, Amsterdam, Netherlands

Repeating part of the logo creates a textured pattern, which cthen be applied to the other components of the identity system. T

pattern adds enough visual interest that it isnt necessary to use mthan one color. Design: 2FRESH, London, Istanbul, Paris


47/161


Managing Expectations

We all have expectations of whenand why certain colors should beused. It is up to the designer to

judge whether these expectationswill support the delivery of a mes-sage or if another color combinationshould be explored. It is importantto acknowledge that subjectivity isalways involved when working withcolor. Viewers perceive color dif-ferently. Using high-intensity colors

can make the difference between awell-attended and not-so-well-at-tended event, while applying neutralor calming tones to quiet contentwill meet audiences expectations ofsome products and services. Decid-ing on a color palette is an integralpart of the design process andshould be considered at the verybeginning of a project.

Things to Consider:

1. Are there existing systems or

models for choosing color com-binations that can be applied tothis particular project?

2. Do one or more colors needto be used because they matcha clients existing identity or overall brand strategy?

3. Do specific hues or values matchthe target audiences expectationof a product or service? If so,should these be incorporated into

the color palette?

4. Would the composition or themessage benefit from intensecolors as dominant tones orshould they only be used asaccents?

5. Would the addition of neutrals

strengthen a color palette? Cathey be used as dominant colo

6. Can color come from paperchoices or other materials usein production? This is particulaimportant to ask when dealingwith signage, environmentalgraphics, or packaging.

7. How do your budget, productor media specifications affectcolor? For instance, on low-

budget projects, one- or two-color compositions should beconsidered. Its also importantfind out if a full range of colorscan be produced if the outputwill be on a handheld device omobile phone.

Street signs use bright, predictablecolors in order to quickly communicateimportant information.


48/161


49/161

Chapter 2

Form and Space

Form and Space

Elements of DesignColor and Image

Type in Color


50/161


Form and Space

It is the combination of content, form, and ideas that come together tocreate graphic design. How an element appears within a composition is de-termined by its placement, scale, color, balance, repetition, and other visualvariables. By manipulating form, it is possible to create an optical illusion andto make a two-dimensional space seem like it has depth. Elements can evenappear to recede or advance. They may be static or give the impression ofmovement, but they are always governed by the compositional space.

Color can help the eye find a focal point and it can suggest where a viewershould focus. It can affect the spatial relationships on a page and can em-phasize content and suggest movement and depth. Color relationships cancause a viewer to experience space and information differently. By choosingspecific hues and by altering value and intensity, a designer can enhance themessage being communicated.

Use of light and subtle color allows the images projected on thesescreens to draw viewers in and shows them where to focus. Spatialrelationships are suggested, even though the images are two-dimen-sional. Design: Shual Studio, Ramat-gan, Israel


51/161

Like a fun-house mirror, this composi-tion plays with the viewers perception of spaceand depth by employing undulating lines and twovanishing points. The repetition of color adds em-phasis to the illusion. Design: Melchior Imboden,Buochs, Switzerland

The form of the devils pitchfork gives theillusion of depth in this poster for the PhiladelphiaYouth Orchestra. Design: Paone Design Associ-ates, Philadelphia

Skillful use of color makes this illustrationseem three-dimensional. By matching the redused in the composition with the tone that iscommonly associated with Mini Coopers, thedesigner taps into viewers previously held as-sociations. Design: Ames Bros, Seattle

Chapter 2 // Form and Space //


52/161


background, the foreground ele-ments should offer contrast by blighter, brighter, or more intense. is desirable to achieve a balanceso that the background comple-ments, but does not overwhelm,foreground, and so that the mosimportant elements stand out.

Foreground and Background

A message can be most easilyunderstood if there is adequatecontrast between elements in theforeground and background of acomposition. These spatial relation-ships can also reference depth anddistance. It is particularly importantto differentiate text elements fromtheir background since a lack ofcontrast can make it difficult forviewers to read content. Altering thecolor of text, shapes, or imagery isan easy way to make certain itemsappear to be in front of or behind

others. By placing components ac-cording to their relative importance,a designer can achieve visual bal-ance and encourage the messageto be read and/or understood bythe audience.

The specific tone and intensity usedfor the background is important tothe success of a composition. If thebackground color is too intense,or bright, it runs the risk of beingoverpowering. On the other hand, ifa muted or dull tone is used for the

Since most of the colors used here belong to asimilar value range, the type acts like texture and thebright red elements stand out against the back-ground. Design: STUDIOKARGAH, Tehran, Iran

Bright red stands out and creates real foreground space becauseit is offset with the darker color of the shadow and the cool blue greenbackground. It is the contrast between warm and cool tones that makesthis composition stand out. Design: Uwe Loesch, Mettmann, Germany


53/161


The blue green background contraststhe warm hues used for the type and makes

this simple composition exciting and engag-ing. Design: Alex Girard, Santa Barbara CityCollege, Santa Barbara, California

This eye-catching combination mayremind viewers of a road sign, but i t is sureto stop them in their tracks.Design: Uwe Loesch, Mettmann, Germany

In this poster, the foreground, middground, and background are created wcolor. Using a cool blue in the backgroumakes the silhouetted figures appear toin front of the other multicolored elemenDesign: Susana Machicao, La Paz, Boli


54/161


Alternating blue and pink dots on thetop half of the composition creates aneye-catching pattern, and the repetition ofpink draws the eye down toward the textbelow. Design: LSDspace, Madrid, Spain

Elements of Design

and Their Variables

The fundamental elements of design such as line, point, and shape providethe backbone for many communications solutions. Since the eye is drawnto what it sees and perceives most easily, a viewer will often notice the huesand tones of a composition before anything else. When color is used incombination with these elements, it can provide a strong visual statement.

These variables may be used on their own, together, or in combination withother components such as type and image.

Shape

When used in conjunction with color, shape may reveal meaning and makea composition more appealing to an audience. Shape is also an importanttool when laying out multipage documents. The combination of color andshape can be used to break up content and/or create a repeating structurethat encourages a viewer to turn the page and keep reading the text.

An identity package can be based on the repeti-

tion of shape and color. In this example for Stylecraft,the system allows for a t remendous amount ofvariation while retaining an overall visual consistency.Design: THERE, Surry Hill, Australia

Small tonal variations in grays seem greaterbecause they have been combined with sharp-edged triangles. The two accents of red add ashock of emphasis that will keep viewers inter-ested. Design: Uwe Loesch, Mettmann, Germany


55/161


Color affects how we perceivshapes in a composition. When thcolor of these shapes is altered, s

seem to recede into the backgrouwhile others appear to advanceforward on the page. Trying severdifferent combinations of color foreach project is more likely to prodsuccessful color relationships.Design: Melchior Imboden, BuochSwitzerland

These shapes seem to jump off the pagebecause the designer has skillfully combinedcompositional elements with intensely bright hues.Design: Gotz Gramlich, Heidelberg, Germany

Elements in this identity package are differen-tiated by shape but are unified by color.Design: Maris Maris, New York City


56/161


Lines

Lines, which are often called rulesin graphic design, are a commonvisual element. They can add em-phasis, imply movement, denotespace, add depth, and revealstructure. If the lines are usedto reveal the message, then thecombination of color and line willusually sustain a readers attention

long enough for information to beread. On the Web, lines or colored

rules, are often used to give pagesstructure. In motion graphics, linesmay be in motion and can be usedtogether with text, image, andshape to create a coherent overalldesign within a multidimensionalmoving piece.

The Skinny on Lines

Zig-zag lines denote agitation, instability,and movement.

Straight linesare a calming, soothing, anrelaxing element within a composition.

Less is often more. In this second composi-tion advertising duty-free shops, the limited colorpalette and strong use of line provide ground-ing points for the addition of full-color images.Design: 2FRESH, London, Istanbul, Paris

Bright colors and line-based type create anengaging combination that seems to referencemovement, even at a glance. There is no doubtthat viewers will notice this poster, even in a busyvisual environment.Design: 2FRESH, London, Istanbul, Paris


57/161


Lines effectively determine thevisual hierarchy of this composi-tion, and color adds emphasis andreinforces the message. Design: GtzGramlich, Heidelberg, Germany

A skillful use of line adds depthto the two-dimensional space andprovides handy spaces for support-ing type to be added. Design: RudiMeyer, Yerres, France

Thin lines are woven togetherinto a compositional element that actslike a subtle background illustration.The light green and magenta palettecreates an unusual but seductivelyharmonious color relationship. Design:Subcommunication, Montreal

These covers use hand-painted lines as asimple element to show expressive difference.The brightly colored vertical rules provide aspace for the type and create a structure thatcan be repeated.Design: Finn Nygaard, Fredensborg, Denmark


58/161


Contrast

Contrast may be applied to colorrelationships by altering the valueof a hue or by choosing a particulartone that has more or less intensity.Contrast is always relative. Blackand white has the highest degreeof contrast, but a bright aqua-greenwill achieve a high level of contrastwhen it is placed against a darkertone such as brown or dark gray.

Contrast is a great way to get aviewer to pay attention to a particu-lar element or an entire layout, butit is also possible to overdo howmuch contrast is present within onecomposition. A little contrast goes along way. Too many elements withcontrasting tones may be irritat-ing and, in some cases, may evenconfuse the importance of elementswithin a composition.

Scale

Scale is one of the easiest ways to convey relative importance. By makingone element bigger, a designer can ensure that it will be noticed more quick-ly. Similarly, the size of some visual elements can be reduced so they dontdominate the composition. By combining color and scale, the designeris able to make certain elements stand out from the rest. Color and scaleare often used together when working with type. Large, brightly coloredletterforms provide a foundation for great typography. By making sometypographic elements bigger and varying their color, type can beused in place of imagery.

Using two bright colors together can beoverwhelming in some instances. But this coposition of large letterforms manages to be qand fun rather than irritating.Design: Gtz Gramlich, Heidelberg, German

Photographic images are contrasted by a black background, creating asense of drama, which is perfect for a site dedicated to individual dancers.Design: Marc Rabinowitz, New York City

The giant quotes stand out against the background. Their size and the contrast betwthe black and gray and red create dynamic cpositional spaces in which the other elementcan be placed.Design: Paone Design Associates, Philadelp


59/161


Changing the color of several wordsparts of a message stand out, especiallytype is placed on a dark background. Thof color on the left side tie all the colors Design: Uwe Loesch, Mettmann, Germa

The contrast between the bright blue back-ground and the even brighter red image in theforeground almost seems to vibrate.Design: Ames Bros, Seattle

The letterforms are huge, but it is the barsof orange that maintain the hierarchy and makethe most important information stand out in thiscomposition. Design: Rudi Meyer, Yerres, France


60/161


Color and Image

It is said that an image is worth 1,000 words, but in graphic design, imageryis rarely used without the accompaniment of other visual variables. Combin-

ing photography or illustration with a palette of complementary or contrast-ing hues can immediately evoke an emotional response. In some cases, thetones that are present within an image can take the place of backgroundcolor or add emphasis to one area of a composition. In other instances, thetonal value of an image may recede so other elements like type and shapecan stand out. Whether used as a focal point or in a supporting role, com-bining photography and illustration with color can produce evocative visualarrangements.

Images can be intense, intriguing, humorous, or surprising. Certain subjectsare sure to draw a viewers attention. One basic question when working withimagery is whether or not to use color or black-and-white photos or one-color illustrations. The answer should always be determined by the specificsof a project. In some cases, a black-and-white image will have a strongerimpact than one that is reproduced in full color. On the other hand, even asmall amount of color can add emphasis, evoke meaning, and reveal visualhierarchy. The addition of imagery can help to tell a story and can be usedas a way to quickly convey information or to set a mood.

Images of funky-looking students will attractpotential applicants to the Vantan Design Insti-tute, so the money spent on the photo shoot issure to pay off. Design: Seitaro Yamazaki(Macla, Inc.), Tokyo

Colored textures make this photo seem traordinary and allow it to fit into an overall br

strategy. Design: Culture Advertising Design,St. Petersburg, Florida

A lighter value of the dominant orangetone sets the type apart from the vibrant blueand orange of the background image. Sampa color from an image allows a photo to beprominent, while still being fully integrated inta composition. Design: Jos Manuel MorelosVeracruz, Mexico


61/161


To ensure that a viewers attention isfocused on the correct text or partof a composition, the color relation-ships within a given image need tobe balanced with the other visualelements. Overlays, monotones,duotones, and spot colors can givea designer greater control over howan image is perceived. Additionally,an image that already has strongcolor can be cropped or placed tohave the maximum visual impact.

A good way to achieve successcolor relationships within an imabased composition is to choosecolors that contrast with other velements. Another trick is to idesubordinate and accent colors bsampling colors from within theimage using the eye-dropper toyour software program. The reption of particular tones can maka composition feel unified and wusually result in a more harmoni

color palette.

Imagery, both photographic and illustrative, isthe primary communication element in this piece.The color is simply incorporated into the photo-graph. Design: 2FRESH, London, Istanbul, Paris

A black-and-white photo is repeated as a half-tone or monotone image, giving this report a refinedappearance. Design: THERE, Surry Hill, Australia

Overlaying colors and layered imagerywork together to show movement and sug-gest the idea of jazz, even before the readergets a chance to read the text.Design: Finn Nygaard, Fredensborg, Denmark


62/161


Fortunately, stock-image sites allcreative photographers and illusttors (including amateurs) to sell thwork, and it is often possible to ga unique-looking image for as littas $5 to $10 ( 3 to 6) dependingon resolution and copyright permsions.

Speccing Imagery

Depending on the size and scopeof a project, a designer may be ableto pay for imagery. A large job willfrequently include money to hire orwork with a photographer. Unfor-tunately, photography budgets areoften the first thing to be cut bycost-conscious clients. If that hap-pens, finding the right images for aproject will require a bit of detectivework, making the most of a smallbudget, and choosing wisely.

Stock-photo companies such asiStock, Shutterstock, and GettyImages make a tremendous amountof visual material available onlineto designers at relatively reason-able rates. Images come in blackand white and full color, and mostsites include illustrations, textures,and video footage. Designers oftencringe at the idea of using stockphotos because they feel they canmake their work seem contrived.

Cropping and tinting the photos makes theimagery seem like a part of the overall design butnot the focal point. This means it is possible to use

lower-quality photos and still produce high-qualitydesign. Design: Alex Girard, Santa Barbara CityCollege, Santa Barbara, California

Photos arent the only way to incorporateimagery in design. In this case, a painting has beencropped as a way to visually advertise an eventwhere the painter, Chuck Close, will be speaking.Design: Paone Design Associates, Philadelphia


63/161


Even without a photo budget, thereare still ways to successfully incor-porate imagery into a project. Takingyour own digital photos is easy andimmediate. Another way to findimages is to search Flickr and otherphoto-sharing sites. Many peopleupload full-size, copyright-free

images that can be downloadeddirectly from these sites. If the reso-lution of an image is too low online,one can email the person who tookthe picture and ask for a higher-quality version. They will often allowtheir image to be used for free aslong as they receive credit.

The orange and green hues used as dominant colorthese book covers are very different, but the size of the band the consistent treatment of type and image will allowviewers to recognize that they are part of a series.Design: Project Projects, New York City

Redrawing an iconic image and combinwith type or other elements, such as line or scan add freshness to a well-known motif andlow-cost way to include imagery in a compoDesign: Gtz Gramlich, Heidelberg, Germany

When designing for a cause, one often needs to be creative to come upwith solutions that wont cost a lot of money to produce. In this case, a structuremade with LEGOs is a colorful reference to Haiti. Setting the photo on a yellowbackground makes the poster seem complete and intentional.Design: Juan Madriz, Edo Falcn, Venezuela


64/161


When Image Is Illustration

Illustration is an excellent way to visually represent an idea, object, person,or place. Packaging, motion graphics, and scientific texts often use illustra-tions rather than photographs. When choosing an illustration, it is importantto identify a visual style that complements the message, package, or designpiece. Consider the budget and your own rendering skills. Determine whetheryou can create an appropriate illustration yourself. In some instances, it ispossible to buy ready-made or stock illustration and alter it so that it seemsunique to the project. This is a great way to achieve maximum impact withvery little money.

The type of illustration that is being used, the context, and the intent of thefinished product should determine how color is applied. Color should beconsidered from the start of the illustration process since it can change theentire mood of a project. If a freelance illustrator has been hired, it is impor-tant to discuss color in the initial project meeting or brief. When using stock

illustration, there is no need to compromise. Try to choose an image thatcan be easily altered or customized.

An illustration can be as simple as line art or a drawing. In some cases, us-ing images that are black or neutral in color may help create a solution thatis visually sophisticated and very specific. Using a one-tone illustration al-lows color to be incorporated elsewhere within a composition and may alsobe easier to accurately reproduce in print or on packaging.

By changing the value of a color schemit is possible to radically alter how an image perceived. The image on the left seems siniswhile the owl on the right appears merely cuDesign: Keri Dodge, New York City

Simple line art lends expressiveness to tcomposition. By using large fields of one huea time, the designer avoids complicating thecomposition unnecessarily, but the color stillenhances the illustration. Design: Felipe TabRio de Janeiro, Brazil


65/161


An illustration can be powerful enough that it can stand on its own,visually. Here, the primary type treatment mimics the style of the illustrationand the use of color differentiates space but doesnt overtake the image.Design: Ames Bros, Seattle

Color always affects how an image is peceived. In this case, the illustrations of a bullto be quite different, depending on the backand fill colors used. The color choices used first example make the illustration seem fair lytral, while in the second example, the backgoverpowers the image and makes it difficult recognize. The contrast between the bright yand red makes the bull seem combative andmean in the final example.

Using illustration is a great way to give consistency to a series. A unifiedstyle, combined with different color schemes, makes these posters fun andunique. Design: Hatch Design, San Francisco


66/161


Color As Provocateur

Color can inspire and tease. Itcan make us laugh and provoke a

response. Throughout history, colorhas been used as provocateur, forpolitical agitation, and as a tool fordissent. Revolutions, countries,and even political parties are oftenassociated with particular hues. Yetthe same color can have differentmeaning in different situations. BothCommunism and the U.S. Republi-can, party are associated withthe color red, even though thesegroups have radically different ideals

and goals.

The contrast between the blue background and theblack and white used in the foreground adds interest andmakes the poster more noticeable. Design: Frank Guzman,Caracas, Venezuela

When the imagery and message are this powerful the use of

color should be minimal so as not to get in the way of the meaning.Design: Garth Walker, Durban, South Africa

This hard-hitting image doesnt need more than two colors. Thestyle and color reference childrens toys and clothing, but viewers willunderstand that the message is absolutely serious without reading thesupporting text. Design: David Criado, La Paz, Bolivia


67/161


Nationwide protests and acts ofcivil disobedience were successfnew elections were called, and thresults brought success to the shbut triumphant orange revolution

Because color is such an excelle

communicator of tone and meanit can be used to gather crowds,help people identify with a causeand even to poke fun at contemprary culture.

Since color takes on meaningthrough context and repeated use,certain movements may choose toadopt specific colors. The environ-mental movement has used greenso often, that the color has becomelinguistic shorthand unto itself. In

the 1960s the Black Panthers usedan illustration of a panther withyellow eyes and connected it tothe slogans Panther Power andFreedom or Death. More recently,in 2004, the color orange took onnew meaning when it was used bythe opposition movement in Ukraine.

Illustration is the primary communica-tive tool used in this poster, but addingcolors that reference a map in the facefurther emphasizes this association. Settingthe blue figure against the red backgroundmakes it stand out even more. Design: JuanCarlos Darias Corpas, Caracas, Venezuela

Clever wordplay is the primary communication tool here,but setting the dark purple type against bright red furtherunderscores the reference to the iconic sports brand Puma.Design: LSDspace, Madrid, Spain

The message of gay rights and violenceagainst homosexuals is immediately understbecause of the use of the rainbow in the shof the tear. Color and image convey the messo well that its possible to understand what being communicated without reading the suporting text. Design: Ulises Ortiz, Mexico City


68/161


Color and Hierarchy

The relationships produced bycombining color, intensity, and letter-forms are nearly endless. To createsuccessful design solutions, one hasto understand how each element ina composition reacts to the othersand how they come together tosupport the message that is beingconveyed.

Great typography reveals a messageand engages its audience. Clarity ofform and proper hierarchy are key toa viewers understanding of content.Color can be a primary factor incommunicating relative importance.

Along with scale and placement,

the hues that one chooses to applyto type will allow certain words orphrases to stand out at the sametime as duller or darker hues willmake others recede. Color is mademore effective by context, so whenworking with type, it is vital tochoose hues that complement thetones present within imagery andother compositional components.

A color palette should be able toaccommodate all the typographicexpressions that occur within aproject. If it does not do so, itshould be revised.

Type in Color

Whether a designer uses hand-drawn type, an expressive font, or one ofthe tried-and-true standards, how letterforms are perceived will be deter-mined by the application or absence of color. The combination of type andcolor has the ability to produce successful visual design solutions, but it alsocomes with challenges. How one approaches color should differ dependingon whether one is working on the layout of body text, a poster, or a large-scale project. Using color with body text can be tricky, and designers haveto be careful not to apply tones with culturally specific associations to type-heavy design.

Size, placement, and color work togethdicate hierarchy in a composition that is domby both type and image.Design: Subcommunication, Montreal


69/161


Negative space and contrast are an exccombination. Layers of contrasting tones sugspatial depth and make the negative space eing. Design: Gotz Gramlich, Heidelberg, Ger

Letterforms are playfully arranged so thacreate secondary shapes. Red and turquoisenot quite complements but are close enoughthey visually vibrate off each other, adding intand emphasizing both type and shape.Design: Gtz Gramlich, Heidelberg, German


70/161


Specific Fonts

Certain fonts and typographic situ-ations may lend themselves to dif-ferent color palettes or relationships.

The blocky letterforms of Rockwellor Univers 75 Black can easily takesubtle tones or intense colors. How-ever, more delicate expressions likeBodoni Book or Frutiger 45 Lighthave less visual weight and may re-quire greater tonal contrast with thebackground and other typographicelements within the composition.

The orange letterforms set against the greenand brown background would be hard to see ifthey were smaller. However, their large scale andcolor mean that relatively few objects are neededto fill the space. Design: Seitaro Yamazaki(Macla, Inc.), Tokyo

Customized letterforms are excellent fordisplay type or to use as typographic expresThe text in this composition is readable becaof its size and because the pink and white leprovide contrast against the brown backgrouDesign: Gtz Gramlich, Heidelberg, German

In some cases, it may be appropriateto be more expressive with body text. Thebody copy for this catalog is in different colaccording to the type of content and thelanguage into which it is translated.Design: STUDIOKARGAH, Tehran, Iran


71/161


Body Text

Body text usually has to do theheavy lifting and communicate themeat of a message. The visualexpression that is applied to bodytext should be in the service ofoverall readability and it should haveenough con

design elements, color fundamentals by aaris sherin

Documents

color choice

color problems

emotion color

color color quick start

color matterscolor

successful color relationships

color canhelp designers

color palettecolor sy