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Let's recap.

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I have my concepts,

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graphic elements, identity,

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typography, and color palette.

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All these elements together are like a set of blocks, or Legos.

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As long as I maintain the same graphic elements,

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type, and colors, every item will feel cohesive.

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The color palette makes sense in theory.

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I like the range of colors and association with the brand.

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It feels unique to Sundance.

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To

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move it from theory to reality,

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I need to explore the palette on actual items and

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adjust the colors as needed.

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The most important item for the festivals is the posters.

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They become collectible and

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are used online to represent the festival.

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I suggested making two versions,

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one with a large quantity and another as a limited edition signed poster.

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Okay, yes, some of these were way off base,

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looking like psychedelic drugs,

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not a film festival.

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Others were recessive and would disappear in a crowded space.

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And some were just plain ugly.

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I love the colors on this version,

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but the tone felt too

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quiet and tranquil.

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I

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hated to lose it,

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but I moved on.

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When I explore different options,

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I like to print them out and look at them as a group.

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Seeing one on screen or several small images is fine as a rough draft,

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but it doesn't really show the reality.

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Once you print them out, two

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things happen.

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First,

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the problems become clear.

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Once printed, some colors don't read as well as others.

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Second,

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you'll find that one or two pop out as pretty good immediately.

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I

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even took advantage of the screen-based applications and RGB colors.

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Don't double-guess yourself.

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Trust your instinct.

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In this instance, I was drawn to a version that engaged the viewer to look closely,

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had an air of mystery and drama,

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and tied in with the natural and western tone of the Sundance brand.

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I also knew that Robert Redford preferred rich,

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deep colors rather than pastels.

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So why not ride the horse in the right direction?

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Using the same process as the William Tell poster,

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I explored many color options and printed them out.

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Again, some worked well, others fell flat, and a few like these were less than energetic.

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I planned to use a silkscreen printing process for the Adam and Eve Limited Edition poster.

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It had a low quantity that was too small for an offset printing job.

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That meant I could play with the color of the paper in addition to the ink.

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I

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could print on ten different colors of paper and textures and make each one unique.

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I

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found a metallic gold paper in Switzerland and rough watercolor paper from Mohawk Paper.

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This

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is an exciting option for you.

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If you're printing something, remember,

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it can be on a myriad of paper options and colors.

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With

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digital printing,

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smaller print runs on unique paper are completely possible.

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Ask the printer to do a test on several colors of paper.

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White,

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gold,

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black,

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red, or whatever.

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Some will work and others may be truly awful.

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But you won't know until you try.

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You just can't simulate this on the screen.

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I realized that a simple palette of black,

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white, and red would work best on a variety of paper colors.

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Here,

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I let the paper,

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texture, and printing technique tell the story of something handmade and unique.

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Even after all the explorations with ink color,

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paper, and texture, I still like the black

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white and red version best.

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It's

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clear, straightforward, and compelling.

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I

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know this sounds like you're just playing with color using no logic or reason.

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Okay,

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maybe you are.

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But isn't that the fun part of being a designer?

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I

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find that even when I think I've thrown caution to the wind and gone crazy,

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I can back up my choices fairly logically.

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You can too.

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Designers are pretty good at exploring while that tiny voice in our heads

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creates reasons for all the play that we do.