1 00:00:03,840 --> 00:00:06,220 A color palette is the backbone of a project. 2 00:00:06,820 --> 00:00:10,780 Now let's review different color palettes and see how to create and apply them. 3 00:00:11,720 --> 00:00:14,600 I don't like to make value judgments about design solutions, 4 00:00:14,880 --> 00:00:17,220 as I usually don't know the circumstances, 5 00:00:17,760 --> 00:00:18,700 client interaction, 6 00:00:19,040 --> 00:00:20,280 or the process involved. 7 00:00:21,088 --> 00:00:21,800 But to be honest, 8 00:00:21,980 --> 00:00:26,040 an off-the-shelf mediocre color palette just doesn't work for me. 9 00:00:27,280 --> 00:00:33,160 A color palette is a critical element that makes the work unique and dynamic and speaks with your tone. 10 00:00:34,110 --> 00:00:43,460 I know some ingenious applications can create a color palette or sample color and spit out several swatches that are guaranteed to be harmonious. 11 00:00:43,700 --> 00:00:43,800 But 12 00:00:44,320 --> 00:00:48,740 do you really want a software program to decide what colors are good? 13 00:00:49,550 --> 00:00:55,980 There are built-in color palettes in many programs that are good starting point or as a rough, broad-stroke draft. 14 00:00:56,280 --> 00:00:57,560 But in the end, 15 00:00:57,620 --> 00:00:59,840 everyone else has the exact same palette. 16 00:01:00,240 --> 00:01:04,160 I hear many designers choosing the colors for a palette say, 17 00:01:04,320 --> 00:01:05,720 I might make a mistake. 18 00:01:06,848 --> 00:01:15,920 Somehow, along the way, they were taught that color rules exist for a reason and that any errors will be met with severe punishment from the color police. 19 00:01:16,620 --> 00:01:19,720 The rules are probably well-intentioned, 20 00:01:19,720 --> 00:01:21,400 but I found them to be hogwash. 21 00:01:22,460 --> 00:01:23,580 Here are some I was taught. 22 00:01:24,600 --> 00:01:29,220 Never combine extremely bright colors with other bright colors, 23 00:01:29,420 --> 00:01:31,680 or especially two fluorescents. 24 00:01:33,060 --> 00:01:33,160 Wrong. 25 00:01:33,460 --> 00:01:33,560 Here 26 00:01:34,368 --> 00:01:36,840 I wanted a cover that could be seen from space. 27 00:01:37,620 --> 00:01:44,380 The pink cover is printed with a double-hit of fluorescent pink and an overprint of two layers of yellow. 28 00:01:45,480 --> 00:01:48,540 In a world of tasteful and polite paper promotions, 29 00:01:48,860 --> 00:01:52,120 I wanted to see how intense I could make the colors 30 00:01:52,360 --> 00:01:54,720 to convey the quality of the paper. 31 00:01:55,100 --> 00:01:57,700 And on the oxygen network, 32 00:01:58,000 --> 00:02:00,420 while other networks were staid and conventional, 33 00:02:00,800 --> 00:02:00,928 I 34 00:02:01,540 --> 00:02:04,680 used colors that ran to the limit of broadcast guidelines. 35 00:02:05,540 --> 00:02:07,120 In the same vein, 36 00:02:07,400 --> 00:02:10,400 never combine dark colors with other dark colors. 37 00:02:10,520 --> 00:02:12,260 Contrast is always needed. 38 00:02:12,980 --> 00:02:16,040 Well, yes, I love contrast, but never? 39 00:02:17,320 --> 00:02:17,840 Wrong again. 40 00:02:18,380 --> 00:02:18,900 And why not? 41 00:02:19,700 --> 00:02:21,620 This can create drama and intensity. 42 00:02:22,360 --> 00:02:27,000 This book cover is a solid matte black with a gloss varnish for the title. 43 00:02:27,140 --> 00:02:27,328 I 44 00:02:27,904 --> 00:02:29,120 wanted to communicate something 45 00:02:29,760 --> 00:02:30,300 lost here. 46 00:02:30,760 --> 00:02:34,960 And the drama of a dark theater before the curtain goes up. 47 00:02:35,100 --> 00:02:35,232 This 48 00:02:36,064 --> 00:02:40,540 works due to its commitment to black on black and no white at all. 49 00:02:41,240 --> 00:02:42,920 And one of my favorites, 50 00:02:43,120 --> 00:02:45,140 this photograph by Edward Muybridge, 51 00:02:45,340 --> 00:02:49,040 is a symphony of dark browns and deep gray tones. 52 00:02:52,360 --> 00:02:53,376 Why not? 53 00:02:55,440 --> 00:02:56,620 Sometimes being bad is good. 54 00:02:57,200 --> 00:03:01,960 I wanted colors to vibrate and glow in the dark for this restaurant identity project. 55 00:03:02,720 --> 00:03:07,240 This poster for the Yardbirds was at my dad's house through my childhood. 56 00:03:07,580 --> 00:03:07,744 I 57 00:03:08,320 --> 00:03:09,900 inherited it when I went to college. 58 00:03:10,240 --> 00:03:13,660 Granted, the concept comes from a psychedelic point of view, 59 00:03:13,820 --> 00:03:15,640 but you certainly can't forget it. 60 00:03:18,176 --> 00:03:21,140 Don't use earth tones and vibrant colors together. 61 00:03:22,360 --> 00:03:22,460 Paul 62 00:03:23,104 --> 00:03:26,700 Gauguin mixed bright green and orange with brown and dark green here, 63 00:03:26,880 --> 00:03:29,000 creating an unexpected contrast. 64 00:03:29,580 --> 00:03:29,696 It's 65 00:03:31,232 --> 00:03:32,140 unique and unexpected, 66 00:03:32,704 --> 00:03:36,860 like this magnificent amazing palette for the film Airport 1975. 67 00:03:39,168 --> 00:03:39,776 Fuchsia, pink, 68 00:03:41,000 --> 00:03:42,180 khaki green, and brown? 69 00:03:42,400 --> 00:03:43,180 Let's go. 70 00:03:44,900 --> 00:03:47,380 Steer clear of too many colors in a palette. 71 00:03:47,600 --> 00:03:47,968 Again, 72 00:03:49,660 --> 00:03:49,960 no. 73 00:03:50,120 --> 00:03:53,376 Restraint and discipline are good traits, but can 74 00:03:53,888 --> 00:03:55,980 there be too many colors in the world? 75 00:03:56,500 --> 00:03:59,460 As the flamboyant entertainer Liberace said, 76 00:04:00,560 --> 00:04:03,260 sometimes too much of a good thing can be wonderful. 77 00:04:03,880 --> 00:04:09,860 The typographic master, Herb Luballen, is a designer of too many typefaces to name. 78 00:04:10,040 --> 00:04:17,640 Here he applies the same exuberant approach to color on these individual brochures for each typeface sample. 79 00:04:18,280 --> 00:04:24,600 And what a tragedy it would be for Redon to not use too many colors on this painting. 80 00:04:25,740 --> 00:04:26,980 Be brave. 81 00:04:27,140 --> 00:04:28,080 Know the rules. 82 00:04:28,260 --> 00:04:30,900 Then break them when needed, or simply because. 83 00:04:31,620 --> 00:04:36,620 Color palettes that fail are dull or default and mundane. 84 00:04:37,000 --> 00:04:38,580 They are great starting points, 85 00:04:38,720 --> 00:04:40,020 but then it's time to 86 00:04:40,040 --> 00:04:40,840 make one's own. 87 00:04:40,960 --> 00:04:45,160 Anything else, use with confidence and boldly is just fine. 88 00:04:45,580 --> 00:04:49,880 Okay, now that we've tackled some of the myths of the palette world, 89 00:04:50,144 --> 00:04:53,060 let's go through my process to create a palette. 90 00:04:53,520 --> 00:04:53,664 First, 91 00:04:55,232 --> 00:04:57,000 I determine the piece's communication, 92 00:04:57,500 --> 00:04:58,900 tone, and context. 93 00:04:59,280 --> 00:05:00,960 What am I communicating? 94 00:05:01,320 --> 00:05:02,360 How should it feel? 95 00:05:02,580 --> 00:05:03,600 Where does it live? 96 00:05:04,260 --> 00:05:09,540 This project for the Library Foundation should communicate literature and writing, 97 00:05:10,040 --> 00:05:10,140 feel entertaining, 98 00:05:10,860 --> 00:05:12,700 and will be seen at metro stations, 99 00:05:12,980 --> 00:05:15,120 often briefly, as a train passes. 100 00:05:15,780 --> 00:05:15,880 One 101 00:05:16,896 --> 00:05:20,940 poster from a series on photography communicates the subject and dates. 102 00:05:21,060 --> 00:05:23,060 It feels erudite and curated, 103 00:05:23,380 --> 00:05:28,300 and stands out with one solid color and image on a cluttered street background. 104 00:05:29,140 --> 00:05:34,460 These business cards from my online publication are about design, 105 00:05:34,720 --> 00:05:35,920 feel fun and joyful, 106 00:05:36,200 --> 00:05:38,420 and they're handed out and viewed closely. 107 00:05:40,040 --> 00:05:40,140 The 108 00:05:41,580 --> 00:05:47,520 packaging solution for a line of sparkling water reads as fresh and healthy with a dose of energy, 109 00:05:47,700 --> 00:05:50,980 and will compete with other products on a grocery store shelf. 110 00:05:52,080 --> 00:05:55,480 The campaign for a fictional news network program 111 00:05:56,512 --> 00:05:58,040 communicates the raw and honest truth. 112 00:05:58,140 --> 00:06:01,380 It's serious and appears on buildings and billboards. 113 00:06:01,960 --> 00:06:02,144 The 114 00:06:04,320 --> 00:06:09,460 AIGA Design Conference website was about information with no extra graphic tricks. 115 00:06:10,040 --> 00:06:11,380 It was on multiple media, 116 00:06:11,540 --> 00:06:13,280 including screen-based media. 117 00:06:13,740 --> 00:06:13,984 There 118 00:06:16,420 --> 00:06:19,500 have been many times when I was sure of a solution in my head, 119 00:06:19,640 --> 00:06:22,640 but changed my mind once I tested it in the environment. 120 00:06:22,980 --> 00:06:27,200 I thought a light pink for the identity of this resort was perfect, but 121 00:06:27,820 --> 00:06:29,500 it disappeared in the real world, 122 00:06:29,600 --> 00:06:31,160 and I needed to adjust the palette. 123 00:06:31,620 --> 00:06:31,872 I 124 00:06:33,780 --> 00:06:37,520 try not to be seduced by one color or one specific palette, 125 00:06:37,760 --> 00:06:39,940 which could lead to every project with 126 00:06:40,040 --> 00:06:40,720 the same colors. 127 00:06:40,960 --> 00:06:41,472 Try 128 00:06:42,320 --> 00:06:45,160 things that are unexpected or uncomfortable. 129 00:06:45,840 --> 00:06:46,176 I 130 00:06:47,420 --> 00:06:49,280 also prefer more complex colors. 131 00:06:49,580 --> 00:06:51,460 We're attracted to bright colors, 132 00:06:51,620 --> 00:06:55,020 but I wanted the viewer to engage with the solution more. 133 00:06:55,420 --> 00:06:57,940 So blue might be slightly green. 134 00:06:58,180 --> 00:06:58,624 Or 135 00:06:59,552 --> 00:07:01,840 yellow might have a little bit of orange. 136 00:07:02,060 --> 00:07:02,496 Or 137 00:07:03,640 --> 00:07:06,380 red might have that little touch of orange also. 138 00:07:06,660 --> 00:07:07,072 The 139 00:07:07,620 --> 00:07:09,920 viewer's work to identify the color makes 140 00:07:10,040 --> 00:07:11,580 it memorable and unique. 141 00:07:12,060 --> 00:07:12,256 Now 142 00:07:13,664 --> 00:07:14,900 let's talk about my influences. 143 00:07:15,520 --> 00:07:15,968 My 144 00:07:16,800 --> 00:07:21,696 photo library is filled with images that aren't chosen for the subject or composition, 145 00:07:22,100 --> 00:07:25,520 but for their colors or interesting use of a color. 146 00:07:25,940 --> 00:07:26,176 Of 147 00:07:27,220 --> 00:07:30,440 course, I collect a huge range of graphic design examples. 148 00:07:40,040 --> 00:07:40,140 I 149 00:07:40,660 --> 00:07:42,760 admit I'm rather promiscuous in my choices. 150 00:07:42,900 --> 00:07:46,280 They also come from the world around me, such as travel. 151 00:07:46,680 --> 00:07:47,008 I'm 152 00:07:48,000 --> 00:07:49,520 that odd person on holiday, 153 00:07:49,640 --> 00:07:51,660 not taking photos of a family, 154 00:07:51,780 --> 00:07:54,360 but the color of a bathroom at Lake Como. 155 00:07:54,620 --> 00:07:55,104 Or 156 00:07:56,160 --> 00:07:57,160 driftwood in Mexico. 157 00:07:57,720 --> 00:07:58,016 Or 158 00:07:59,904 --> 00:08:01,620 building paint colors in Venice. 159 00:08:02,540 --> 00:08:06,160 Sometimes it's important to look up, 160 00:08:06,180 --> 00:08:07,240 not just around you. 161 00:08:10,040 --> 00:08:11,080 Photographs in a department store. 162 00:08:11,320 --> 00:08:11,872 These 163 00:08:12,448 --> 00:08:13,200 ceramics were amazing. 164 00:08:13,460 --> 00:08:15,280 And why not shoot them? 165 00:08:15,700 --> 00:08:15,968 I 166 00:08:16,800 --> 00:08:18,380 also love film and television. 167 00:08:18,740 --> 00:08:19,360 Now, clearly, 168 00:08:19,700 --> 00:08:22,040 I'm not focused on the plot of many of these things, 169 00:08:22,120 --> 00:08:24,180 but the colors are pretty darned amazing. 170 00:08:24,860 --> 00:08:25,088 The 171 00:08:25,920 --> 00:08:28,860 point is not to be precious about the quality of the image. 172 00:08:29,000 --> 00:08:30,520 You're collecting it for the color. 173 00:08:30,800 --> 00:08:32,980 If I see something in a film, 174 00:08:33,100 --> 00:08:35,080 I do a screen grab on my computer, 175 00:08:35,140 --> 00:08:36,480 or if it's on the television, 176 00:08:36,720 --> 00:08:38,960 I just use my phone and shoot the screen. 177 00:08:40,040 --> 00:08:40,140 I 178 00:08:41,260 --> 00:08:43,420 also look at environments and architecture. 179 00:08:43,860 --> 00:08:45,180 And every once in a while, 180 00:08:45,260 --> 00:08:47,080 I'll find a great color palette, 181 00:08:47,280 --> 00:08:51,520 such as these colors for a 1953 and 55 Cadillac. 182 00:08:52,120 --> 00:08:52,220 Fine 183 00:09:01,220 --> 00:09:02,480 art and illustration are, 184 00:09:02,520 --> 00:09:08,560 of course, an incredible source for color palettes that have been thought through by some of the best artists in the world. 185 00:09:10,040 --> 00:09:10,140 These 186 00:09:12,920 --> 00:09:15,160 icons came from a bill at a restaurant. 187 00:09:15,700 --> 00:09:16,096 And 188 00:09:20,140 --> 00:09:20,940 I collect photography. 189 00:09:21,280 --> 00:09:23,180 Sometimes not even for the subject, 190 00:09:23,400 --> 00:09:26,200 but I'm more interested in how the colors are being used. 191 00:09:26,420 --> 00:09:27,980 I have a lot of swimming pools, 192 00:09:28,080 --> 00:09:28,700 as you can tell. 193 00:09:29,180 --> 00:09:29,504 Now, 194 00:09:39,280 --> 00:09:40,020 let's talk about the color palette. 195 00:09:40,040 --> 00:09:41,140 Let's talk about how I do it. 196 00:09:41,320 --> 00:09:42,016 Now, 197 00:09:43,020 --> 00:09:43,940 here's my process. 198 00:09:44,260 --> 00:09:45,780 It's not that complicated, 199 00:09:45,980 --> 00:09:46,200 really. 200 00:09:46,380 --> 00:09:47,660 I have a template, 201 00:09:47,800 --> 00:09:51,220 and this is the same template that I use for all of my color palettes, 202 00:09:51,300 --> 00:09:53,260 just so that it's easy and they all match. 203 00:09:53,540 --> 00:10:00,200 So my first step is going to be to place an image of something I found that I think could make an interesting palette. 204 00:10:00,640 --> 00:10:01,088 Now, 205 00:10:02,080 --> 00:10:08,220 in this case, I'm going to choose that really cool zebra that we talked about earlier. 206 00:10:10,040 --> 00:10:12,040 Now that I have the zebra in here, 207 00:10:12,240 --> 00:10:15,060 I can go about and just start sampling the colors. 208 00:10:15,540 --> 00:10:21,140 Now, my goal is to get a good range of light to dark and warm and cool, 209 00:10:21,480 --> 00:10:22,700 so it's a broad palette. 210 00:10:23,140 --> 00:10:25,120 Now, let's start off with the most obvious, 211 00:10:25,140 --> 00:10:26,240 which is that pink. 212 00:10:26,848 --> 00:10:29,664 And then there's a darker pink and red. 213 00:10:30,944 --> 00:10:37,000 And you might have to click around a little bit until you get something that's sort of specifically what you're looking for, 214 00:10:37,120 --> 00:10:40,020 which is something a little bit more distinct from the 215 00:10:40,040 --> 00:10:40,860 pink that I want. 216 00:10:41,140 --> 00:10:41,856 And 217 00:10:44,620 --> 00:10:48,000 then, of course, there's this green that's sort of everywhere. 218 00:10:48,440 --> 00:10:49,248 And 219 00:10:51,100 --> 00:10:52,544 this ochre color. 220 00:10:53,200 --> 00:10:53,728 And 221 00:10:56,680 --> 00:10:58,640 then this beautiful blue. 222 00:10:58,920 --> 00:10:59,776 And 223 00:11:01,860 --> 00:11:02,080 then, 224 00:11:02,496 --> 00:11:02,820 finally, 225 00:11:03,360 --> 00:11:04,260 the black outline. 226 00:11:04,700 --> 00:11:05,408 So 227 00:11:06,460 --> 00:11:08,240 I can look at this and say, 228 00:11:08,360 --> 00:11:09,100 I like this. 229 00:11:09,180 --> 00:11:10,020 Now, I'm not crazy about it. 230 00:11:10,040 --> 00:11:10,280 I like that green. 231 00:11:10,600 --> 00:11:13,260 So I'm going to go back in and dig around a little bit. 232 00:11:13,312 --> 00:11:14,080 That's a little better, 233 00:11:14,340 --> 00:11:15,120 a little softer. 234 00:11:15,400 --> 00:11:17,720 So now that that's all done, 235 00:11:17,840 --> 00:11:19,120 I can delete the image. 236 00:11:19,400 --> 00:11:31,180 My next step is then to select all the unused colors that were in the palette from a previous file or the default file and delete these. 237 00:11:31,400 --> 00:11:32,160 And 238 00:11:34,160 --> 00:11:36,416 now I'm going to add these 239 00:11:38,620 --> 00:11:39,040 selected colors. 240 00:11:40,040 --> 00:11:40,580 Now they're all in here. 241 00:11:40,680 --> 00:11:41,880 Now I can name them if I'd like. 242 00:11:42,100 --> 00:11:43,500 But in this instance, 243 00:11:43,660 --> 00:11:45,100 I'm just going to save the file. 244 00:11:45,480 --> 00:11:46,016 I'm 245 00:11:48,060 --> 00:11:49,820 going to name it the Alexander palette, 246 00:11:51,744 --> 00:11:52,320 since 247 00:11:53,360 --> 00:11:54,400 that's the name of the zebra. 248 00:11:54,700 --> 00:11:55,392 Save. 249 00:11:57,440 --> 00:11:59,328 And now I have the Alexander palette. 250 00:11:59,680 --> 00:12:03,560 Now, the great thing about this is if I need to use it on anything else, 251 00:12:03,740 --> 00:12:05,960 I can simply start a new file. 252 00:12:06,240 --> 00:12:07,808 So in this instance, 253 00:12:10,040 --> 00:12:10,380 I'm going to create a new file. 254 00:12:10,620 --> 00:12:13,980 And I decide I don't want these default colors. 255 00:12:14,280 --> 00:12:16,580 I'm going to open the swatch library. 256 00:12:17,100 --> 00:12:19,020 I go to other library. 257 00:12:19,380 --> 00:12:23,320 And it will let me choose from my palettes. 258 00:12:24,832 --> 00:12:27,440 As I said, I have a folder of 259 00:12:28,000 --> 00:12:29,720 all my color palettes right here. 260 00:12:30,112 --> 00:12:30,688 Now, 261 00:12:31,620 --> 00:12:32,480 they're all in here. 262 00:12:32,700 --> 00:12:33,504 Look through. 263 00:12:34,100 --> 00:12:34,944 And there's Alexander. 264 00:12:35,480 --> 00:12:36,780 Open it. 265 00:12:40,040 --> 00:12:40,120 There we go. 266 00:12:40,320 --> 00:12:42,520 That's the Alexander palette right there. 267 00:12:42,700 --> 00:12:44,120 Large subnail view. 268 00:12:44,380 --> 00:12:46,460 I'm ready to start working. 269 00:12:46,640 --> 00:12:47,500 And that's it. 270 00:12:48,000 --> 00:12:48,420 Pretty simple.