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In this lesson, we'll explore ways to apply the color palette to additional applications,

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maintain a cohesive voice without being boring.

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We'll also look at some of the technical solutions

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to maintain rich colors.

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Now, there's a couple of terms in graphic design

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that relate to lazy solutions.

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Type and stripe, which is simply adding a color bar and type at the top of every application.

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And logo slapping, which is just dropping a logo in a corner of everything.

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The same thing happens with color.

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We build a great palette and end up using the same two colors in the same way repeatedly.

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Consistency is great for branding purposes,

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but too much of the same thing

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creates wallpaper.

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People stop seeing it.

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I like to think of using color not to make everything identical,

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but

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to maintain the same spirit.

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The

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Sundance project had a huge number of materials to create from the posters to merchandise.

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This gave me the opportunity to work with all the stories in my toolbox and to put the entire palette to work.

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The refined palette worked well.

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There

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are enough dark and light tones,

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jewel tones,

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and neutral colors for all the items.

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To recap,

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I created the CMYK,

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RGB, and PMS versions.

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I found myself at first slipping into the mode of realism,

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and that's no fun.

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I

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planned to be liberal and unexpected with the palette,

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but slowly found myself making things the right color.

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This

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was a perfect time to stop and adjust.

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Again,

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I had retreated to something safe I thought the client would accept.

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But what did I think it should be?

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The

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Trojan horse could be yellow.

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Isaac Newton Chartreuse.

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A

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mustard-colored Helen of Troy launched the thousand ships on a turquoise ocean.

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A mustard-colored Helen of Troy launched a thousand ships on a turquoise ocean.

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Only Moby Dick, the white whale,

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stayed white.

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Sort of.

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The

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minimal form and color here asks the viewer to do some work.

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First,

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they needed to solve the puzzle.

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Who is that?

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What is that story?

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How does that connect to the festival?

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Once they determine that's Icarus falling from the sun,

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they're forced to stop and ask,

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why

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is he red?

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It's

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a small question, but these interactions make something memorable.

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When we do that much work in our head,

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we've invested in the piece,

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and it's personal.

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We

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feel good that we solved the question.

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I prefer to use sustainable materials when I print,

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and all the items used recycled paper that was less than bright white.

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We

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talked about this before,

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but simulating the result of a color on paper that isn't bright white

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isn't reliable.

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It needs to be seen physically.

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For colors to feel deep and not anemic,

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I ask for as much ink as possible to be printed without losing the type quality.

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I

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also work with the printers to adjust their curves.

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This sounds complicated, but it isn't.

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Ink

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sits on the surface of coated paper and is absorbed in the uncoated paper.

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By

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slightly modifying the curves,

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the images print beautifully.

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This

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publication I did for Mohawk paper has a pretty good explanation.

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In

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the simplest terms, when using uncoated paper,

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adjust the curves of the images to open them up and reduce the dot size.

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Tell your printer, they'll know what to do.

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Another trick I

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use is to add fluorescent color to CMYK to give the color more punch.

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On

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this spread, the left side is printed with cyan,

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magenta, yellow, and black inks.

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The

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right side has a touch plate,

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meaning selected areas of added fluorescent

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magenta and yellow.

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The

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result is an exceptionally technicolor image.

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Some call that flashy.

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I like it.

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To

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recap, I used the entire palette on all the materials.

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I ignored reality and made the items whatever color I wanted.

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This kept the viewer interested each time they found a new item or saw something on the screen.

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Maintaining the colors on the printed materials worked well.

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Even

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with uncoated recycled paper,

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the colors remained rich and matched the palette.

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The

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on-screen base colors also worked.

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In

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all honesty, some items, such as vinyl banners or scrims,

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lost some of the brilliance.

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Obsessing about that was fruitless.

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Some materials can only do so much.

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I might have been the only person to notice this deviation,

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but all one can do is start with the right colors and hope every material works.

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And

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other items printed digitally worked perfectly.

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That's

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why we spent so much time refining and refining.

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It's

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critical when color is applied to so many items on every possible material.

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The

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next year's festival was about

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telling stories around the campfire and fire as a symbol of passion.

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That's

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an entirely different color story to tell.