Design

Elements:
Color Fundamentals
A Graphic Style Manual for
Understanding How Color Affects Design

Design
Elements:
Color Fundamentals

Aaris Sherin
Contents

7 Introduction: 113 Chapter 4

Color in Design Organizing with Color
9 Chapter 1 Catching a Viewer’s Attention
Communicating with Color Series and Structure
Infographics
What Is Color?
Layouts
Theory in Practice
Color in Motion and Media
Choosing a Color Palette
Color Systems 143 Chapter 5
Rules for Working with Color
49 Chapter 2
Form and Space Color Quick Start
Ten Rules for Working with Color
Form and Space
Real-Life Exceptions
Elements of Design
Strategies for Working with Clients
Color and Image
Type in Color 156 Contributors
77 Chapter 3 159 Acknowledgments
Meaning and Emotion
160 About the Author
Color and Psychology
Mood and Symbolism
Culture and Place
Aspects of Color
Color as Identifier
“Color problems are an excellent vehicle for
developing a discriminating eye for color choice,
composition and a greater understanding of what
constitutes visual sensitivity.”
— Rob Roy Kelly
Introduction:
Color in Design
Why Color Matters
Color is one of the most powerful tools a designer has to communicate a
client’s message. It can symbolize an idea, can invoke meaning, and has
cultural relevancy. Successful color relationships can determine whether
people buy a product or use a client’s services. Color can aid in wayfinding,
it can give structure to projects with multiple components, and it can show
emphasis and convey mood. Whether it is suggesting space or showing
movement and rhythm, color always has a story to tell.
As much as color can help to catch and hold a viewer’s attention, it can also
present myriad challenges for the designer. The subjective nature of color
may cause a designer to shy away from using bold combinations or from
taking risks with tone and value. Preferences for certain colors sometimes
get in the way during the approval process with a client. Cultural associa-
tions can lead some viewers to misinterpret information, and the technical
difficulty of representing a color correctly on screen, in print, and on other
media can be daunting. Fortunately, as difficult as it may seem to choose
the right hues for a project, there are numerous examples of engaging
graphic design that are made possible by successful color relationships.
Learning which colors work well together and how to create successful
tonal relationships will save time and money. But more importantly, color can
help designers elicit the correct response from an audience and produce
striking graphic design.
Chapter 1
Communicating with Color

What Is Color?
Theory in Practice
Choosing a Color Palette
Color Systems
X10 // Design Elements // Color Fundamentals

What Is Color?
In a world where first impressions are formed in as little as one-twentieth of a
second, color can help the designer catch a viewer’s attention and communi-
cate information in a busy visual environment. Color can also help the viewer
quickly make the correct association or have the right reaction to a product
brand or service. Color acts as an exclamation point, as a way to achieve
compositional balance, and as a tool to suggest and convey meaning.
Color seems concrete in our physical environment, but it is actually created by
varying 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 our
optical system, are able to tell the difference between these rays and their
frequency. The specific color that is perceived by a viewer is determined
by the degree to which a surface is able to reflect light and produce rays of
different lengths. Reds have the longest wavelengths and violets have the
SIn a high-traffic area, it is color that calls
shortest. White contains all color and black is produced by the absence of
attention to this sign and makes it more
color or a surface where no visible light can be reflected. noticable.

RED

Hue – is another term for

color and the two words are
used interchangeably.

Saturation – also referred

to as the intensity of color. Satura-
YE

tion is the strength or purity of a

UE
LL

hue without the addition of white BL

OW

or black.

Color temperature – This subtractive model is based

the perceived warmth or coolness on the primaries red, blue, and yellow and most
of a color. closely mimics the artist’s spectrum. For design-
ers who are used to mixing paints or pigments,
it will probably be easiest to relate to this model.

Value – the relative degree of

lightness or darkness of a color.
Adding white or black will change
the value of a color.
 Chapter 1 // Communicating with Color //11

The hues that can be distinguished cause the eye to perceive a new hue.
by the human eye are referred to The human eye is able to discern
as “the visible spectrum” and are about 10 million colors, all of which
composed of a fairly limited range of are combinations of the basic prima-
colors, including red, orange, yellow, ries. Since light creates color, it also
green, blue, blue violet, and violet. affects how we perceive hues and
In their absolute form, the visible their value and intensity. Strong light
spectrum can be further limited to intensifies color and low light dulls
colors, which are most different from it. In extremely low light conditions,
each other. These hues are referred some colors may barely be visible
to as primary colors and include red, and it can be difficult to distinguish
blue, and yellow. A small change in between hues of similar value.
the frequency of a primary color will

SOne often thinks of applying color to a

large area in a design, but sometimes less is
more. In this composition, the image is the
primary carrier of color.
Design: Bob Wilkinson, Abuja, Nigeria

SColor is produced by light, but how light waves reflect off

different surfaces changes how hues are perceived. Similarly,
the same shape appears to be different when various colors are
applied to it. Design: Answr Inc., Tokyo
X12 // Design Elements // Color Fundamentals

Color Temperature
The temperature of color refers to a measurement or, the power, in degrees
Kelvin 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 on
the light source. Lower color temperature implies warmer light (yellow and/or
red) 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 temperature
of the monitor can change how colors are perceived on screen. Calibration
utilities that are built into operating systems (as in the case of Apple prod-
ucts) and special software can measure a monitor’s color temperature and
adjust it so that what is seen on screen matches the intended output more
closely. Calibration is particularly important when working with digital
photography and digital prepress.
SThis highly saturated palette manages to
include numerous colors and shapes without
appearing to be too busy.
Design: Diego Giovanni Bermúdez Aguirre,
Valle, Colombia

Saturation (Also Referred to as Chroma)

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

Whether a color appears to be saturated will be

somewhat dependent on what colors it is next
to. Understanding which hues appear to be vivid
will allow the designer to use intense colors to
achieve greater visual impact.
 Chapter 1 // Communicating with Color //13

SOne might think that a poster about water should have a cool
temperature, but this composition stands out because it uses blue
as an accent on a warm red background. Design: Fernando Revollo,
Cochabamba, Bolivia

SXHighly saturated color palettes are effective at getting a

viewer’s attention, but in this case, the designer chose to use slightly
duller colors on a bright white background. The light background
contrasts with the shapes and makes them more noticeable. Design:
SBright yellow accented by orange is combined with
Rubén Moreno, Caracas, Venezuela
a red violet hue to give this poster an intensity that is
characteristic of bright, warm colors. Design: Antonio
Perez Gonzalez Ñiko, Xalapa, Mexico
X14 // Design Elements // Color Fundamentals

Color and Value

Value is the relative lightness or darkness of a color and is an important tool
to add emphasis and establish visual hierarchy within a composition. On its
own, color is stronger than value. For instance, a gray tone will blend into a
series of similarly colored shapes, but adding a color to one of those shapes
will make it stand out. The effect of value on a composition is relative and is
Notice how the same color gray appears to be
determined by the lightness or darkness of all the other elements within a different depending on whether it is next to a
layout. The greater the difference in value among compositional elements, darker or lighter tone and if it is in the foreground
and against the background, the more contrast there will appear to be. or background.
Therefore, value is one of the best ways to achieve contrast in design.

Altering value is an easy way to indicate heirarchy Value can be an excellent tool for showing relative importance. Two
and relative importance. By changing the value shapes of equal size and value will appear to have equal importance.
of one circle, more emphasis is placed on the However, if the value of one of those shapes is altered, the darker or
composition on the left. brighter value will stand out and seem to have more significance.

Value can also be used to show movement or to make a viewer’s eye

travel around a composition. Making some objects within a composition
darker and others lighter will cause a viewer to first look at what stands
out most and then at what stands out least.
 Chapter 1 // Communicating with Color //15

WChanging the value of some ele-

ments in a design is an excellent way
to make certain parts of a composition
stand out. These two value studies are
an example of how different the same
piece can seem when varying degrees
of gray are applied to elements within
the composition. Design: Lindsey Burris,
Rochester, New York (courtesy of Bruce
Ian Meader)

Value and intensity can be broken

down into seven visible steps. These are
the maximum variations that will be dis-
cernable to the human eye.
Altering the value and intensity of hues
used within a composition is one of the
ways that a designer can achieve visual
harmony within a composition. Since a
viewer’s perception of color is always rela-
tive, one can make colors “seem” brighter White Hue Black
by putting them next to duller tones. Tints Shades
X16 // Design Elements // Color Fundamentals

Theory in Practice
Scientists and artists have studied the effects of color and the relationships
that different colors have to each other for centuries. A variety of theories,
rules, and ideas have developed to explain how color is perceived and how
this information can be applied to art, science, and design. While it is not
necessary for designers to be familiar with every one of these principles,
understanding the basic relationships between colors and combinations of
hues can help a designer make better and faster decisions. By employing
known principles and rules, it is easier to create work that is visually pleasing
and better at conveying a client’s message.

SGreen and yellow green are the

dominant hues used in these stamp designs,
but the warmer red tone provides a useful
accent to emphasize imagery. Design:
Suunnittelutoimisto BOTH, Helsinki, Finland

WThis poster references primary colors,

even though a yellow green tone is used
rather than pure yellow. Design: Rubén
Moreno, Caracas, Venezuela

Why It Matters
Color theory is most useful to designers because
it can allow them to understand why some color
relationships are successful and how to create
color combinations that can be used to effectively
communicate information. Color theory is a valu-
able tool, but it won’t always lead to predictable
real-world results. The basic goal when dealing
with color is to produce pleasing color combina-
tions. These groupings are commonly referred to
as being in harmony. Rather than referring to a
specific set of attributes, harmony has more to do
with achieving the intended reaction than it does
an absolute set of rules or attributes.
 Chapter 1 // Communicating with Color //17

Color Combinations
Designers have an endless number that are based on research or the
of color schemes to choose from. attributes of the target audience will
These pairings can positively impact produce the best results. The benefit
a design, but they can produce of working with known pairings is
negative consequences as well. that they can provide a starting point
Depending on the specifications of for inexperienced designers and
a project, it may be appropriate are ideal for designers who excel at
to create a palette by choosing working within set limits.
known color combinations, while in
other instances, creating groupings

These color studies show what a difference color and value can make
in a composition. The first example doesn’t have enough contrast.
The second effectively uses an analog color scheme, and the palette
of the third version of the poster works well but doesn’t match the
content. Design: Stephanie Boland, Rochester, New York
(Courtesy of Bruce Ian Meader)
X18 // Design Elements // Color Fundamentals

Color Wheels and Models

Artists, designers, and scientists because it most closely mimics what tem is used in screen design. Colors
have developed numerous models happens when paint or another pig- are categorized depending on their
to visually compare colors and how ment is put on a reflective surface. placement on the color wheel and
they interact with other hues. These These models tend to be easiest for on how they react to other hues.
wheels or diagrams are commonly visual designers to understand, but Understanding the most common
used to show the relative relation- there are also color wheels based on groupings of colors will enable one
ships between particular hues. De- the subtractive printing process and to choose pairings that have predict-
signers and other visual artists most even ones based on light. Additive able visual results.
often use the subtractive mixing color mixing closely mimics how
system when creating color models light stimulates the eye and this sys-

Oran
Yellowe ge
Or a n g
w

Re ng
Or
llo

d e
Ye

a
Yellow
Green

Red

Warm Hues

Cool Hues
n

t
Red
Gree

V iole
Bl reen

e t
ue

ol
G

Vi

Blue
Blue
V iolet

Basic color wheel: This diagram Warm and Cool Temperature Colors: SPrimary colors create a distinctive color
of a basic color wheel provides an excellent The color wheel is divided into warm palette for this college recruitment poster.
reference tool to see the relationships between and cool hues. Design: Alex Girard, Santa Barbara City College,
colors when working on design projects. Santa Barbara, California

Design of color wheel diagrams:

Bruce Ian Meader, Rochester, New York
 Chapter 1 // Communicating with Color //19

Primary Colors Secondary Colors Tertiary Colors

Oran Oran Oran

Yellowe ge Yellowe ge Yellowe ge
Orang Orang Orang

w
w

w
Re ng
Re ng

Re ng
O
O

lo
lo

Or
lo
ra
ra

l
l

l
d e
Ye
d e

d e
Ye

Ye

a
Yellow
Yellow

Yellow
Green
Green

Green
Red
Red

Red
Warm Hues Warm Hues Warm Hues

Cool Hues Cool Hues Cool Hues

n
n

n
t
t

Red

t
Red

Red
Gree

Viole
Viole
Gree

Gree

Viole
ue n
Bl reen

Bl reen
Bl ree

et
t

t
le

le
ue

ue
a

ol
o
G

o
G

Vi
Vi

Vi
Blue Blue Blue
Blue Blue Blue
Violet Violet Violet

Primary colors include red, yellow, Secondary colors include violet, Tertiary colors are located between
and blue and are pure hues, which are unrelated orange, and green. They are made by combin- primary and secondary hues on the color wheel
to each other. By mixing the right amount of ing equal amounts of two primary colors. and have more of one primary color than the
primary colors, it is possible to create any color other. How a tertiary color appears will depend
in the spectrum. on which primary color is dominant in the mixture.

Complementary Hues Split Complementary Hues

Yellow Y Yellow Y
llo
w Or ellow llo
w Or ellow
Ye reen an
ge Ye reen an
ge
G G
Or
Or
n

n
ee

ee

an
an

Gr
Gr

ge

ge
Orange

Orange
Green

Green
Blue

Blue
Red

Red
Blu

Blu
d

d
Re

Re
e

B d B d
Vio lue Re let Vio lue Re let
let Violet Vio let Violet V io

Complementary hues are any two Split complementary hues

colors located directly opposite or across from refer to a primary color and two secondary colors
each other on the color wheel. There are a total that are located adjacent to the hues’ comple-
of six pairs of complementary colors. Comple- ment on the color wheel.
mentary colors have a contradictory relationship
with each other. A color is both attracted to and XSplit complementary colors provide the basis
repelled by its complement. The push/pull of the for the color palette for this design. Design:
complement can be used as a way to attract a Matthew Brownell, Rochester, New York
viewer’s attention. (Courtesy of Bruce Ian Meader)
X20 // Design Elements // Color Fundamentals

Analogous Combinations

Yellow Y
llo
w Or ellow
Ye reen an
ge
G Or
n
ee

an
Gr

ge
Orange
Green
Blue

Red
Blu

d
Re
e

B d
Vio lue Re let
let Violet V io

Analogous combinations refer to WAnalogous colors make up the basis for the
a primary hue and two adjacent hues next to overall color scheme of this poster. Yellow is a
each other on the color wheel. Analogous color bright accent against the green and blue palette.
combinations tend to be harmonious because Design: Götz Gramlich, Heidelberg, Germany
they reflect similar wavelengths of light.

Triad Harmonies

Yellow Y
llo
w Or ellow
Ye reen an
ge
G
Or
n
ee

an
Gr

ge
Orange
Green
Blue

Red
Blu

d
Re
e

B d
Vio lue Re let
let Violet Vio

Triad harmonies are any three hues

spaced equidistantly around the color wheel.
WA triad palette is used for this color study.
Because primary and secondary colors are
Using tints increases the number of tones
equidistant from each other, they combine to
present in the composition. Design: Chrissy
create triadic color combinations.
Buettner, Rochester, New York
(Courtesy of Bruce Ian Meader)

Design of color wheel diagrams:

Bruce Ian Meader, Rochester, New York
 Chapter 1 // Communicating with Color //21

Tetrad Combination

Yellow Y
llo
w Or ellow
Ye reen an
ge
G
Or
n
ee

an
Gr

ge
Orange
Green
Blue

Red
Blu

d
Re
e

B d
Vio lue Re let
let Violet Vio

WThis color study makes use of a

Tetrad combinations are made up of tetrad palette. By using some colors as
four hues, which are sets of complements or dominant tones and others as accents,
split complements. it is possible to effectively incorporate all
four hues within the same composition.
Design: Chrissy Buettner, Rochester,
New York (Courtesy of Bruce Ian Meader)

Monochromatic refers to variations of a single hue that include

tints (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 often
so successful in design solutions.

+
Hue White Gray Black
Tints Shades

WA monochromatic palette is used for this

color study. Using tints and shades gives the
appearance of a varied and interesting color
palette while saving on printing costs. Design:
Kevin John Buntaine, Rochester, New York
(Courtesy of Bruce Ian Meader)
X22 // Design Elements // Color Fundamentals

Masters of Color
Johannes Itten was a master at the they work in context would allow
Bauhaus, in Weimar, Germany, in artists and designers to hone their
the 1920s and is considered to be sensitivity to color and make more
one of the greatest teachers of color. meaningful choices. In the book,
Itten believed that while there are The Elements of Color, Itten noted
some predictable color relationships that a practitioner can achieve suc-
and outcomes, much of how artists cessful color solutions in three differ-
and designers use, and audiences ent ways. The first is visually (which
perceive, color is subjective and de- he called impression), the second is
termined by context. He suggested emotionally (which he called expres-
that studying the relationships that sion), and the third is symbolically
hues have to each other and how (which he called construction).

SThe proximity of hues to each other changes

how they are perceived. Here, virtual depth is cre-
ated by overlaying different colored type. Design:
Uwe Loesch, Mettmann, Germany

Itten’s color wheel: This diagram Itten’s ways of approaching color:

helps show the interactions between colors and Impression (or visually)
includes primaries in the middle as an indicator of Expression (or emotionally)
how colors can be mixed to produce new hues. Construction (or symbolically)
 Chapter 1 // Communicating with Color //23

Josef Albers, a legendary colorist Albers focused on what happened

and painter, was a student of Itten’s when colors interacted with each
at the Bauhaus, where he went on other, as often happens when
to teach after he graduated. When hues are placed together within a
the Nazis closed the school in 1933, single composition. He put stu-
Albers emigrated to the United dents through exercises that were
States where he taught first at Black designed to hone their ability to
Mountain College and then at Yale create effective color groupings.
University. He worked extensively Both Albers and Itten believed that
with color as an artist and educa- relatively subtle variations in color
tor. At Yale, Albers explored color, groupings and tonal values could
its relationships, and its effects on produce interesting results and that
his students. He famously said that a person’s ability to make success-
if you asked fifty students what they ful color choices could be improved
saw when they saw red you would with practice and study.
come back with fifty different reds.
This subjectivity can be challenging
for the designer unless they under-
stand how to mitigate the differ-
ences in perception and can create
color combinations, which are more
likely to achieve the intended result.

Alber’s Color Studies: Joseph Albers created numerous color

studies to show the relationships between hues. Here the small squares in the
center 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 viewer’s
perception of color is relative and will always depend on what it is next to.
X24 // Design Elements // Color Fundamentals

Color Exercise 1 Color Exercise 2

Exercises 2 and 3 are taken from This project is designed to test
Albers’ classic book, The Interaction a person’s ability to perceptually
of Color, and are designed to “mix” color. Students are asked to
test a person’s ability to perceive select two colors that have differ-
value in color. Albers believed that ent values and hues. Then they are
value was just as important as hue asked to select a third color that
and intensity. they perceive to be the color that
would be created if these two colors
Using Color Aid paper, students
were mixed. Finally, the students are
begin by selecting four values
challenged to select a fourth color
of two different colors, preferably
that will give the perceptual effect of
colors that are on opposite sides
optical transparency.
of the color wheel. The goal is to
match the values of the hues as XColor study using Color-aid paper: Briana
closely as possible. Students are Brown, New York City (Courtesy of Paul Fabozzi)
asked to superimpose one set of TColor study using Color-aid paper: Johana
Muñoz, New York City (Courtesy of Paul Fabozzi)
the four colors inside the other
set, and vice versa, to show the
success of their choices.

SColor study using color-aid paper: Brett

Kalwarski, New York City (Courtesy of Paul
Fabozzi)
WColor study using color-aid paper: Kitty
Yeung, New York City (Courtesy of Paul Fabozzi)
 Chapter 1 // Communicating with Color //25

Bezold Effect
This project was designed by Paul a. Choose four colors of different c. Once a satisfactory group of
Fabozzi to illustrate the Bezold values that work together. four is chosen, change the
Effect. Wilhelm von Bezold (1837– It is important to be sensitive to overall visual effect by replacing
1907) was a German scientist who whether the colors absorb or one of the colors. Then replace
was involved with textiles, and in reflect light (it is difficult to have that color again, creating three
the course of his research, he noted more than one reflective color combinations.
that a single color change in a pat- in a successful grouping of
d. To show how the colors will
tern affected the appearance of all four colors).
react with each other in a
the remaining colors. The project
b. Test the colors for proper value compositional space, the three
illustrates how much the overall
balance by placing colors next to combinations are used in a
visual effect of a group of colors can
each other. simple design that is made
be changed by replacing one
by dividing a rectangle so that
of those hues.
the shapes share surface edges
with other shapes as frequently
as possible.

SColor study using Color-aid paper: Kitty

Yeung, New York City (Courtesy of Paul Fabozzi)
X26 // Design Elements // Color Fundamentals

Achieving Harmony
The choices one makes when
selecting colors is often referred to
as trying to achieve “color harmony.”
Rather than a strict set of rules,
harmony suggests a pleasing or
displeasing combination of hues in
relation to an overall composition.
Harmonic pairings can be made up
of colors that have similar inten-
sity, or they may include tones that
sharply contrast each other. Wheth-
er certain hues create a harmonic
palette remains somewhat subjec-
tive, but color theory offers some
reasons why particular colors work
together better than others. Color
groupings are always affected by
other elements in the composition,
such as image, type, format, and
even the content that is being com-
municated. In most cases designers
are trying to achieve attractive or
pleasing color combinations, but in
some instances displeasing or non-
harmonic combinations may help a
designer realize her desired result.

One of the main tenets of color theory suggests that our vision is always
trying to achieve equilibrium or to arrive at neutral. Theorists have
proposed that a person’s perception of color can be influenced by a
phenomenon in which the brain creates a complementary afterimage of
a color. This idea is supported by several experiments that show that if SBy using tints and shades, a complementary-
a person stares at one block of color and then quickly looks away, he based palette is visually engaging and sophisti-
cated. Design: Subcommunication, Montreal
will see the complement of that color. The implication is that the eye
is always searching for symmetry or to find the balance, which comes
when a hue is combined with its opposite.
 Chapter 1 // Communicating with Color //27

WComplementary colors and illusion create an

eye-popping design. Even though the composi-
tion doesn’t encourage harmony, the eye’s natural
desire for balance is fulfilled because the comple-
ments will create a neutral when mixed.
Design: LSDspace, Madrid, Spain

The reason why the brain produces hue. A designer or artist can use the
afterimages isn’t fully understood, brain’s desire for balance to their
but one explanation proposes that advantage by using hues, which,
gazing at a color causes the color when combined, will create neutral
receptors in one’s eye to become tones. This theory can influence
fatigued, and in an effort to restore how color is used in design because
natural balance, these receptors harnessing the eye’s natural tenden-
create a complementary afterimage. cies can allow the designer to more
The “color” produced is the same accurately predict how a viewer will
value and intensity as the original experience a visual composition.
X28 // Design Elements // Color Fundamentals

Interaction and Proximity

A viewer’s perception of color will al- colors it comes in contact with. For
ways be determined by what colors instance, red on green can produce
are present elsewhere in the compo- a ghosting effect. Before placing
sition. A white square on a black two colors next to or on top of each
background will appear to be larger other, the designer should consider
than the same size black square whether the colors will be subject to
placed on a white background. simultaneous contrast and whether
Similarly, a light gray will look lighter that interaction may change the way
on a dark background than it will on that content is perceived.
a white background. In situations of
simultaneous contrast, how a color
is perceived is altered by what other
 Chapter 1 // Communicating with Color //29

SThis nontraditional Christmas card is a SYellow and purple visually vibrate against each
perfect example of how differently one perceives other, and each color makes the other more noticeable.
color depending on what hues are next to each Design: Horacio Guia, Caracas, Venezuela
other. Design: Domingo Villalba and Yessica
Silvio, Caracas, Venezuela
X30 // Design Elements // Color Fundamentals

Choosing a Color Palette

Many systems can be used to select hues for a successful color palette. In most cases, a designer will use a
Which one a designer uses should be based on the specifications of the built-in “color picker” in a software
project, some degree of trial and error, and personal preference. Color varia- program to specify particular colors.
tions can be derived by mixing a hue with white (which produces tints) or However, in some cases, a job may
with black (which produces shades), or by mixing one color with another to require the selection of colored
create a completely different hue. paper or other materials for print
production. Pantone and/or other
Designers may embrace the intensity produced by a palette that includes
swatch books (see page 40) and
numerous colors, or one may decide to limit the number of colors used in a
online applications, such as Color
project. Limited color palettes have several benefits. If a job will be produced
Scheme Designer (see page 118),
using offset printing, a one- or two-color job will result in significant cost sav-
can also help with color selection.
ings for the client. Compositions created with limited color palettes tend to
stand out in an oversaturated market. Using models and known systems is
an excellent way to start making effective design decisions.

SUsing one color plus a tint is a great way to SFully saturated hues of orange and purple
achieve visual interest while keeping a color pal- have been applied to the photos as well as the
ette extremely limited. The combination of orange shape and type. This unifies the composition
and white is sure to be noticed, even on shelves while still presenting a clear visual hierarchy.
filled with similar products. Design: Subcommunication, Montreal
Design: Maris Maris, New York City
 Chapter 1 // Communicating with Color //31

The Dominant, Subordinate,

and Accent System
One successful system of picking A good way to test whether color
colors relies on the use of dominant, pairings are effective is to vary one Dominant
subordinate, and accent hues. This hue at a time. Try altering the palette Accent
model provides both structure and by replacing one of the original Subordinate
variation, and offers nearly limitless hues with its complement. Then
options. Begin by choosing a domi- try replacing it with a neutral. Alter
nant tone that complements the saturation and see if any of these
message. Then choose one or more variations results in a more pleasing
subordinate colors. Lastly, select combination. Slight variations make
an accent that can be used spar- a big difference, so it is important to
ingly in the design and will create a test several “seemingly” successful Dominant
Accent
harmonious combination with the combinations on the project content
dominant and subordinate tones. before making a final decision. Subordinate

SThese 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 as
the dominant tone, but the system allows for enough variation that yellow and black can be dominant
on some pages as well. Design: Uwe Loesch, Mettmann, Germany
X32 // Design Elements // Color Fundamentals

Meaning-based Method
for Harmonizing Colors
This method will create a palette from any base color. It is a good technique
to 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 adheres
to the client’s message. Then add a complement of the same value and
intensity. Now take these two colors and transform them into their opposites
in 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 Color
Scheme Designer (colorschemedesigner.com; see page 118). The resultant
colors will be harmonious. One can make slight alterations to the shade or
tint and then choose which hues in the combination will be appropriate as
dominant and accent colors.
To further experiment using this method, try replacing one of the colors with
several different hues, one at a time, to see if the resultant combination cre-
ates more pleasing visual relationships.

SThe color used in these compositions is

picked up from the image. By repeating it, the
designer ensures that the composition seems
unified and that the image will be the focal point.
Design: Paone Design Associates, Philadelphia

WChoosing the right colors for a project is only

the beginning. It is also important to test how
hues interact with one another. Placing certain
colors next to each other can add emphasis
and show importance. It can also change how a
composition is perceived. In these color studies,
where color is placed affects which shapes seem
to advance and recede.
 Chapter 1 // Communicating with Color //33

Repetition or Reoccurrence
Repeating and/or showing the reoc-
currence of one or more hues and/
or its shades and tints is a great way
to unify a composition or to show
similarity among multiple compo-
nents. This system can be used with
almost any color combination but
is likely to be most effective and/
or most noticeable when used with
limited palettes.

SRepeated color sequences can reference

motion or depth and create the appearance of an
optical illusion. In real-world projects, sequences
are usually most effective when they are varied
and/or are used to create a pattern.

WBy using shades of red and magenta as well

as the colors at their full strength, the designer
is able to make a harmonious palette out of an
unusual combination of colors.
Design: Melchior Imboden, Buochs, Switzerland

Progressive
This system refers to a sequence in
which a color or colors change in
constant steps from dark to light or
light to dark, and results in the ap-
pearance of continual progression.
Progressive value shifts are particu-
larly good at producing color palettes
that include three or more hues.

WProgressively lighter tints of blue create a

harmonious color palette while also producing
interesting compositional space.
Design: Uwe Loesch, Mettmann, Germany
X34 // Design Elements // Color Fundamentals

One-Color Palettes
One-color palettes can be a great
way to reduce the cost of printing
and to create simple yet effective
layouts. When choosing this system,
the designer often starts with an
intense or bright hue. Then its tints
and shades can behave like subor-
dinate and/or accent hues. It is also
possible to use only one value of a
color and let the paper or “ground”
create the variation within the
composition. If the goal is to lessen
the cost of producing print design,
colored or textured paper can give
the appearance of more than one
color, even though only one printing
plate is used. One-color palettes are
also a good choice if the final design
solution will exist in a busy visual
SEven though cost savings is one of the main
environment or when the end result reasons to use one- or two-color palettes, limiting SWhen applying color to pages, a designer
will be seen on screen. the number of colors used in a composition will can choose a paper or other material that comes
sometimes draw attention to a particular element with its own color or texture. This is a great way
or area of the design. to make one- or two-color printing more colorful.
Design: Bob Wilkinson, Abuja, Nigeria Design: Shual Studio, Ramat-gan, Israel

SThe mastheads of these magazines change color, but the rest SThe tint of the dominant blue is used as an accent,
of the covers are produced in full color. Limiting the hues used in the and the white of the paper gives the appearance of a
masthead allows the issues to be easily differentiated. two-color job. Design: David Frisco, New York City
Design: Seitaro Yamazaki (Macla, Inc.), Tokyo
 Chapter 1 // Communicating with Color //35

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

WThis poster shows how much can be ac-

complished using simple elements and tints of
the dominant color. Design: Adrián Fernández
González, Asturias, Spain

XThough this composition technically uses

three colors, the effect is still of a two-color
design. The black stands out against the yellow,
and the slight gradient keeps the background
from looking flat. Design: STUDIOKARGAH,
Tehran, Iran

TUsing red and black with the white as an oc-

casional accent allows the type to stand out and
the negative space to be just as interesting as the
positive. Design: Domingo Villalba and Yessica
Silvio, Caracas, Venezuela

SWhen simplicity is key and a composition re-

lies on shape, two colors can be extremely effec-
tive at communicating a message and catching
a viewer’s attention. Design: Juan Carlos Darias
Corpas, Caracas, Venezuela
X36 // Design Elements // Color Fundamentals

Black and White

Just because a design doesn’t
use color, doesn’t mean it can’t be
powerful and effective. Choosing to
use only black and white may be the
result of budgetary constraints or it
can be a specific design decision.
Black-and-white design solutions
are very effective at visually commu-
nicating information to an audience.

SWhen a composition relies on shape and

type, limiting one’s color choice to black and
white adds emphasis. Design: Seitaro Yamazaki
(Macla, Inc.), Tokyo

SBlack and white has two purposes in this composition. The black SThis illustration uses a style that is reminiscent of individual dot
background provides optimum contrast and the white, in the shape of pixels, which is perfect when paired with the text “my favorite movie
a beam of light, continues the visual metaphor of the flashlight. is…” Shape and text are able to communicate the message with-
Design: Garth Walker, Durban, South Africa out the addition of color. Design: 2FRESH, London, Istanbul, Paris
 Chapter 1 // Communicating with Color //37

Different Blacks
When a large area of a composition resultant color-rich black provides
C 000 C 060
is black, the printer will usually ask good coverage and is pleasing to M 000 M 060
the designer to use a special com- the eye, but it should only be used Y 000 Y 040
bination of CMYK to produce rich on large areas of black color. Black K 100 K 100
“print-friendly” black. This combina- body text should be specified as
tion is created by mixing 60 percent 100 percent black or K. It is helpful
cyan, 40 percent magenta, 40 per- to create swatches of text black and
cent yellow, and 100 percent black rich CMYK black so that it is easy to
ink and can be specified with the toggle between the two.
color picker in design software. The

WTThis identity for a TV station can be customized

using a variety of visual elements. The designers chose to
use only black and white so that the piece would stand out in
a full-color digital environment. Design: Lava Graphic Design,
Amsterdam, Netherlands
X38 // Design Elements // Color Fundamentals

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 three
of the most commonly used color systems in design, but they are not the
only ones in existence. In some countries, other matching systems such
as TOYO, ANPA, or DIC may be used. Fortunately, software programs
like Adobe Photoshop, Illustrator, and InDesign all include numerous color
profiles and systems in their swatch libraries.

CYAN

BLACK

A
NT
YE

GE
LL
OW

MA

WThis poster highlights the benefits of using a

multicolored palette as a design element in and of
itself. Since this poster would be printed, CMYK
is the best color system to use.
Design: Katsui Design Office, Tokyo
 Chapter 1 // Communicating with Color //39

CMYK is a four-color subtractive Standardized SWOP guides are

process, which includes the colors used in the United States, Europe,
cyan, magenta, yellow, and black. and Asia. They show the percentage
The process is considered to be of CMYK values that are needed
“subtractive” because the inks that to create a particular hue to ensure
are used for printing subtract, or that the colors specified will match
mask, the background (which is the finished print product. How color
usually the white of the paper) using appears on print media will also
a halftone dot pattern. Colors are be determined by the paper stock
produced by combining CMYK ink (whether it is coated, uncoated, or
colors and partially, or fully, printing matte), and whether a varnish or
them on a white background. CMYK aqueous coating has been applied
is used in offset lithography, and over the ink.
in most cases, a designer will be
required to change all graphics and
imagery to CMYK before sending
files to a printer.

SThis image has been separated into distinct channels of each CMYK
color. Printers sometimes maximize the amount of black in the separation
process as a way to save ink. In such cases, the black plate will be more
saturated than in this example.
X40 // Design Elements // Color Fundamentals

Pantone is a proprietary color set consisting of 1,114 solid Pan-

system that allows printers and tone colors, which can be used
designers to accurately commu- on coated, uncoated, and matte
nicate and produce specific color stock. The guide is extremely
choices. The Pantone Matching popular and is used by the de-
System allows a designer to se- signer to specify the color and by
lect and specify a particular Pan- the printer to create the corre-
tone color that will be matched sponding ink formulas needed to
exactly by the ink used by a produce each color on a specific
commercial printer. The Pantone type of paper.
Formula Guide is a three-guide

SSpecifying a Pantone color will ensure that print materials, SBright colors and lively shapes combined with
like these, are all produced using exactly the same color simple white type create a vibrant composition.
orange. Design: Suunnittelutoimisto BOTH, Helsinki, Finland Design: Sebastian Guerrini, La Plata, Argentina
 Chapter 1 // Communicating with Color //41

WGreen is commonly associated with the

environmental movement and organic or otherwise
healthy products. This website for the Organic
World Foundation uses green as a component in
the 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 wide RED
variety 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
GR

UE

RGB-based color interpretation sys-

EE

BL
N

tems or profiles that will then print

with CMYK ink. TV’s video screens,
monitors, mobile devices, and cam-
eras all use the RGB system.
X42 // Design Elements // Color Fundamentals

Color Forecasting
Choosing successful color combina- sionals with industry- and location-
tions is big business. In the fash- specific color information and is
ion and interior design industries, a resource for color trends. The
specialists are often asked to help Pantone Color Institute (see www.
predict which colors will be popular pantone.com) also publishes sea-
at a given time or for a particular sonal forecasts that are available in
audience. Color forecasters create short form online and as download-
reports on which colors, textures, able PDFs free of charge. In most
and trends are likely to be widely cases, choosing colors for a specific
SThis design for “special wallpaper” is unique
adopted and sell well in future sea- graphic design job is more likely and colorful. This kind of palette will most
sons. The information collected by to be determined by the message likely appeal to a buyer with specific taste who
these companies can be accessed and the target audience than by doesn’t care about seasonal trends.
by purchasing reports or by sub- Design: Answr Inc., Tokyo
seasonal trends. However, in certain
scribing to ongoing memberships. instances, using color forecasting
The Color Marketing Group (www. may help produce current and timely XSpreads showing different types of tudungs
colormarketing.org) assists profes- color choices. (traditional head coverings) feature diverse colors
and patterns and are made even more interesting
by placing the models on multicolored back-
grounds. Changing the color and pattern of a
common clothing item is one way to keep it fresh
and new season after season.
Design: Cheah Wei Chun, CLANHOUSE,
Singapore

SForecasting is used by the interior design industry to anticipate which colors and combinations are
likely to be popular in the future. However, when one is creating an interior space that is meant to last, it
is usually best to use a color palette that isn’t time specific and will hold up to changing tastes.
Design: Seitaro Yamazaki (Macla, Inc.), Tokyo
Chapter 1 // Communicating with Color //43
X44 // Design Elements // Color Fundamentals

Color Blindness
Color blindness or the inability to he may compensate by learning to
see certain colors occurs predomi- guess the identity of colors or by
nantly in men and affects about 10 only wearing tones and shades that
percent of the population worldwide. he recognizes. The U.S. Army found
It is usually genetic. It is incurable, that men with color blindness were
and how it manifests can vary from able to see “camouflage colors”
person to person. People with color better than those with normal vi-
blindness are often unable to distin- sion. Not seeing every color may
guish between certain colors. Some have occasional benefits, but for
people are completely color-blind most people, color blindness is an
(this condition is extremely rare), but inconvenience and may cause social
most have difficulty seeing one or embarrassment.
more colors, such as red and green.
If a person is aware of the problem,
SThis graphic is based on the Ishihara tests
for color blindness, which were developed to
identify whether a subject has problems seeing
red and/or green. Those with color anomalies
may not be able to identify the shapes in the dots
or may see a different pattern from a person with
full vision.

Inspired by the idea that design can

have a positive impact on people’s
lives, designer Miguel Neiva created
ColorAdd (www.coloradd.net), a
project that helps people who suffer
from color blindness. Neiva’s solu-
tion targets people who might need
to use color in a professional setting,
such as design, fashion, interior
design, or architecture, but it also
provides a system to make color
choices easier in users’ everyday
lives and for navigational tools such
as maps. The project is still in the
concept phase, but Neiva has ap-
plied his graphic system to a variety SThe project includes an additive graphic
of applications including hospital symbol system for identifying colors, which can
materials, maps, school supplies, be applied to clothing tags and other product
and clothing tags. labels. The graphic elements can be integrated
into users’ visual vocabularies and they can be
applied in small dimensions in a variety of set-
tings. Design: Miguel Neiva, Porto, Portugal
 Chapter 1 // Communicating with Color //45

SThe goal of ColorAdd is to provide a public

service and to give autonomy to people who
suffer from color blindness.
Design: Miguel Neiva, Porto, Portugal

Super Sight
in women because two cone cell
Humans can perceive millions of
pigment genes are located on the
distinctive colors, but some of us
x chromosome. There are relatively
see better than others. Scientists
few tetrachromats (about 2 percent
have found that a small number of
to 3 percent of women worldwide),
people can actually see another
so there’s no need to design for
cone between red and blue. Known
super color vision just yet.
as tetrachromats, these women may
be able to perceive 100 times more
colors than most of us. This kind of
super color vision is only possible
X46 // Design Elements // Color Fundamentals

Color and Texture

Texture is frequently overlooked as handmade or unusual look and it
a variable in design applications. It may come from photographs, from
can be used as a background, to the material on which pieces are
fill a shape or a letterform, or even printed, or by creating an overlay of
as an accent. Combining color a seemingly unrelated visual. When
and texture can enhance a layout, combined with color, texture can
achieve greater visual interest, and make an overall design feel more in-
aid in communicating a mood or dividual and provide a specificity that
message. Texture is used by design- will be attractive to some clients.
ers who want to give something a

SRed is a typical color to use with the “heart”

shape, but the use of photographic texture keeps
this composition from being predictable.
Design: Ricardo Villoria, Langreo, Spain

SThe design of this magazine spread relies on the visual texture

created by restaurant menus. The designer wanted to highlight the fact
that similar colors and fonts are used by many pizza places.
Design: Martijn Oostra, Amsterdam, Netherlands

WRepeating part of the logo creates a textured pattern, which can

then be applied to the other components of the identity system. The
pattern adds enough visual interest that it isn’t necessary to use more
than one color. Design: 2FRESH, London, Istanbul, Paris
 Chapter 1 // Communicating with Color //47

Managing Expectations
We all have expectations of when can make the difference between a
and why certain colors should be well-attended and not-so-well-at-
used. It is up to the designer to tended event, while applying neutral
judge whether these expectations or calming tones to quiet content
will support the delivery of a mes- will meet audiences’ expectations of
sage or if another color combination some products and services. Decid-
should be explored. It is important ing on a color palette is an integral
to acknowledge that subjectivity is part of the design process and
always involved when working with should be considered at the very
color. Viewers perceive color dif- beginning of a project.
ferently. Using high-intensity colors

WXStreet signs use bright, predictable

colors in order to quickly communicate
important information.

Things to Consider:
1. Are there existing systems or 5. Would the addition of neutrals
models for choosing color com- strengthen a color palette? Can
binations that can be applied to they be used as dominant colors?
this particular project?
6. Can color come from paper
2. Do one or more colors need choices or other materials used
to be used because they match in production? This is particularly
a client’s existing identity or over important to ask when dealing
all brand strategy? with signage, environmental
graphics, or packaging.
3. Do specific hues or values match
the target audience’s expectation 7. How do your budget, production,
of a product or service? If so, or media specifications affect
should these be incorporated into color? For instance, on low-
the color palette? budget projects, one- or two-
color compositions should be
4. Would the composition or the
considered. It’s also important to
message benefit from intense
find out if a full range of colors
colors as dominant tones or
can be produced if the output
should they only be used as
will be on a handheld device or
accents?
mobile phone.
Chapter 2 Form and Space

Form and Space Elements of Design

Color and Image
Type in Color
X50 // Design Elements // Color Fundamentals

Form and Space

It is the combination of content, form, and ideas that come together to
create graphic design. How an element appears within a composition is de-
termined by its placement, scale, color, balance, repetition, and other visual
variables. By manipulating form, it is possible to create an optical illusion and
to make a two-dimensional space seem like it has depth. Elements can even
appear to recede or advance. They may be static or give the impression of
movement, but they are always governed by the compositional space.
Color can help the eye find a focal point and it can suggest where a viewer
should focus. It can affect the spatial relationships on a page and can em-
phasize content and suggest movement and depth. Color relationships can
cause a viewer to experience space and information differently. By choosing
specific hues and by altering value and intensity, a designer can enhance the
message being communicated.

SUse of light and subtle color allows the images projected on these
screens to draw viewers in and shows them where to focus. Spatial
relationships are suggested, even though the images are two-dimen-
sional. Design: Shual Studio, Ramat-gan, Israel
 Chapter 2 // Form and Space //51

WThe form of the “devil’s pitchfork” gives the

illusion of depth in this poster for the Philadelphia
Youth Orchestra. Design: Paone Design Associ-
ates, Philadelphia

XTLike a fun-house mirror, this composi-

tion plays with the viewer’s perception of space
and depth by employing undulating lines and two
vanishing points. The repetition of color adds em-
phasis to the illusion. Design: Melchior Imboden,
Buochs, Switzerland

TSkillful use of color makes this illustration

seem three-dimensional. By matching the red
used in the composition with the tone that is
commonly associated with Mini Coopers, the
designer taps into viewers’ previously held as-
sociations. Design: Ames Bros, Seattle
X52 // Design Elements // Color Fundamentals

Foreground and Background

A message can be most easily others. By placing components ac- background, the foreground ele-
understood if there is adequate cording to their relative importance, ments should offer contrast by being
contrast between elements in the a designer can achieve visual bal- lighter, brighter, or more intense. It
foreground and background of a ance and encourage the message is desirable to achieve a balance
composition. These spatial relation- to be read and/or understood by so that the background comple-
ships can also reference depth and the audience. ments, but does not overwhelm, the
distance. It is particularly important foreground, and so that the most
The specific tone and intensity used
to differentiate text elements from important elements stand out.
for the background is important to
their background since a lack of
the success of a composition. If the
contrast can make it difficult for
background color is too intense,
viewers to read content. Altering the
or bright, it runs the risk of being
color of text, shapes, or imagery is
overpowering. On the other hand, if
an easy way to make certain items
a muted or dull tone is used for the
appear to be in front of or behind

SSince most of the colors used here belong to a SBright red stands out and creates real foreground space because
similar value range, the type acts like texture and the it is offset with the darker color of the shadow and the cool blue green
bright red elements stand out against the back- background. It is the contrast between warm and cool tones that makes
ground. Design: STUDIOKARGAH, Tehran, Iran this composition stand out. Design: Uwe Loesch, Mettmann, Germany
 Chapter 2 // Form and Space //53

WThe blue green background contrasts

the warm hues used for the type and makes
this simple composition exciting and engag-
ing. Design: Alex Girard, Santa Barbara City
College, Santa Barbara, California TIn this poster, the foreground, middle
ground, and background are created with
TThis eye-catching combination may color. Using a cool blue in the background
remind viewers of a road sign, but it is sure makes the silhouetted figures appear to be
to stop them in their tracks. in front of the other multicolored elements.
Design: Uwe Loesch, Mettmann, Germany Design: Susana Machicao, La Paz, Bolivia
X54 // Design Elements // Color Fundamentals

Elements of Design
and Their Variables
The fundamental elements of design such as line, point, and shape provide
the backbone for many communications solutions. Since the eye is drawn
to what it sees and perceives most easily, a viewer will often notice the hues
and tones of a composition before anything else. When color is used in
combination with these elements, it can provide a strong visual statement.
These variables may be used on their own, together, or in combination with
other components such as type and image.
Shape
When used in conjunction with color, shape may reveal meaning and make
a composition more appealing to an audience. Shape is also an important
tool when laying out multipage documents. The combination of color and
shape can be used to break up content and/or create a repeating structure
that encourages a viewer to turn the page and keep reading the text.
SAlternating blue and pink dots on the
top half of the composition creates an
eye-catching pattern, and the repetition of
pink draws the eye down toward the text
below. Design: LSDspace, Madrid, Spain

SAn identity package can be based on the repeti-

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

WSmall tonal variations in grays seem greater

because they have been combined with sharp-
edged triangles. The two accents of red add a
shock of emphasis that will keep viewers inter-
ested. Design: Uwe Loesch, Mettmann, Germany
 Chapter 2 // Form and Space //55

WColor affects how we perceive

shapes in a composition. When the
color of these shapes is altered, some
seem to recede into the background
while others appear to advance
forward on the page. Trying several
different combinations of color for
each project is more likely to produce
successful color relationships.
Design: Melchior Imboden, Buochs,
Switzerland

SThese shapes seem to jump off the page

because the designer has skillfully combined
compositional elements with intensely bright hues.
Design: Gotz Gramlich, Heidelberg, Germany

XElements in this identity package are differen-

tiated by shape but are unified by color.
Design: Maris Maris, New York City
X56 // Design Elements // Color Fundamentals

Lines
Lines, which are often called rules long enough for information to be
in graphic design, are a common read. On the Web, lines or colored
visual element. They can add em- rules, are often used to give pages
phasis, imply movement, denote structure. In motion graphics, lines
space, add depth, and reveal may be in motion and can be used
structure. If the lines are used together with text, image, and
to reveal the message, then the shape to create a coherent overall
The Skinny on Lines
combination of color and line will design within a multidimensional
moving piece. Zig-zag lines denote agitation, instability,
usually sustain a reader’s attention
and movement.

Straight lines are a calming, soothing, and a

relaxing element within a composition.

WLess is often more. In this second composi-

tion advertising duty-free shops, the limited color
palette and strong use of line provide ground-
ing points for the addition of full-color images.
Design: 2FRESH, London, Istanbul, Paris

TBright colors and line-based type create an

engaging combination that seems to reference
movement, even at a glance. There is no doubt
that viewers will notice this poster, even in a busy
visual environment.
Design: 2FRESH, London, Istanbul, Paris
 Chapter 2 // Form and Space //57

WWA skillful use of line adds depth

to the two-dimensional space and
provides handy spaces for support-
ing type to be added. Design: Rudi
Meyer, Yerres, France

WLines effectively determine the

visual hierarchy of this composi-
tion, and color adds emphasis and
reinforces the message. Design: Götz
Gramlich, Heidelberg, Germany

TThin lines are woven together

into a compositional element that acts
like a subtle background illustration.
The light green and magenta palette
creates an unusual but seductively
harmonious color relationship. Design:
Subcommunication, Montreal

WThese covers use hand-painted lines as a

simple element to show expressive difference.
The brightly colored vertical rules provide a
space for the type and create a structure that
can be repeated.
Design: Finn Nygaard, Fredensborg, Denmark
X58 // Design Elements // Color Fundamentals

Scale
Scale is one of the easiest ways to convey relative importance. By making
one 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 don’t
dominate the composition. By combining color and scale, the designer
is able to make certain elements stand out from the rest. Color and scale
are often used together when working with type. Large, brightly colored
letterforms provide a foundation for great typography. By making some
typographic elements bigger and varying their color, type can be
used in place of imagery.

Contrast
Contrast may be applied to color Contrast is a great way to get a
relationships by altering the value viewer to pay attention to a particu-
of a hue or by choosing a particular lar element or an entire layout, but
tone that has more or less intensity. it is also possible to overdo how
Contrast is always relative. Black much contrast is present within one
and white has the highest degree composition. A little contrast goes a
of contrast, but a bright aqua-green long way. Too many elements with SUsing two bright colors together can be
will achieve a high level of contrast contrasting tones may be irritat- overwhelming in some instances. But this com-
when it is placed against a darker ing and, in some cases, may even position of large letterforms manages to be quirky
and fun rather than irritating.
tone such as brown or dark gray. confuse the importance of elements Design: Götz Gramlich, Heidelberg, Germany
within a composition.

SPhotographic images are contrasted by a black background, creating a SThe giant quotes stand out against the red
sense of drama, which is perfect for a site dedicated to individual dancers. background. Their size and the contrast between
Design: Marc Rabinowitz, New York City the black and gray and red create dynamic com-
positional spaces in which the other elements
can be placed.
Design: Paone Design Associates, Philadelphia
 Chapter 2 // Form and Space //59

SThe letterforms are huge, but it is the bars

of orange that maintain the hierarchy and make
the most important information stand out in this
SChanging the color of several words can make
composition. Design: Rudi Meyer, Yerres, France
parts of a message stand out, especially when the
type is placed on a dark background. The hints
WThe contrast between the bright blue back- of color on the left side tie all the colors together.
ground and the even brighter red image in the Design: Uwe Loesch, Mettmann, Germany
foreground almost seems to vibrate.
Design: Ames Bros, Seattle
X60 // Design Elements // Color Fundamentals

Color and Image

It is said that an image is worth 1,000 words, but in graphic design, imagery
is 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, the
tones that are present within an image can take the place of background
color or add emphasis to one area of a composition. In other instances, the
tonal value of an image may recede so other elements like type and shape
can stand out. Whether used as a focal point or in a supporting role, com-
bining photography and illustration with color can produce evocative visual
arrangements.
Images can be intense, intriguing, humorous, or surprising. Certain subjects
are sure to draw a viewer’s attention. One basic question when working with
imagery is whether or not to use color or black-and-white photos or one-
color illustrations. The answer should always be determined by the specifics
of a project. In some cases, a black-and-white image will have a stronger
impact than one that is reproduced in full color. On the other hand, even a
small amount of color can add emphasis, evoke meaning, and reveal visual
hierarchy. The addition of imagery can help to tell a story and can be used
as a way to quickly convey information or to set a mood.

SSA lighter value of the dominant orange

tone sets the type apart from the vibrant blue
and orange of the background image. Sampling
a color from an image allows a photo to be
prominent, while still being fully integrated into
a composition. Design: José Manuel Morelos,
Veracruz, Mexico

SColored textures make this photo seem ex-

traordinary and allow it to fit into an overall brand
strategy. Design: Culture Advertising Design,
St. Petersburg, Florida

SImages of funky-looking students will attract

potential applicants to the Vantan Design Insti-
tute, so the money spent on the photo shoot is
sure to pay off. Design: Seitaro Yamazaki
(Macla, Inc.), Tokyo
 Chapter 2 // Form and Space //61

SOverlaying colors and layered imagery SA black-and-white photo is repeated as a half-
work together to show movement and sug- tone or monotone image, giving this report a refined
gest the idea of jazz, even before the reader appearance. Design: THERE, Surry Hill, Australia
gets a chance to read the text.
Design: Finn Nygaard, Fredensborg, Denmark

To ensure that a viewer’s attention is A good way to achieve successful

focused on the correct text or part color relationships within an image-
of a composition, the color relation- based composition is to choose
ships within a given image need to colors that contrast with other visual
be balanced with the other visual elements. Another trick is to identify
elements. Overlays, monotones, subordinate and accent colors by
duotones, and spot colors can give sampling colors from within the
a designer greater control over how image using the eye-dropper tool in
an image is perceived. Additionally, your software program. The repeti-
an image that already has strong tion of particular tones can make
color can be cropped or placed to a composition feel unified and will
have the maximum visual impact. usually result in a more harmonious
color palette.

SImagery, both photographic and illustrative, is

the primary communication element in this piece.
The color is simply incorporated into the photo-
graph. Design: 2FRESH, London, Istanbul, Paris
X62 // Design Elements // Color Fundamentals

Speccing Imagery
Depending on the size and scope Stock-photo companies such as Fortunately, stock-image sites allow
of a project, a designer may be able iStock, Shutterstock, and Getty creative photographers and illustra-
to pay for imagery. A large job will Images make a tremendous amount tors (including amateurs) to sell their
frequently include money to hire or of visual material available online work, and it is often possible to get
work with a photographer. Unfor- to designers at relatively reason- a unique-looking image for as little
tunately, photography budgets are able rates. Images come in black as $5 to $10 (£ 3 to 6) depending
often the first thing to be cut by and white and full color, and most on resolution and copyright permis-
cost-conscious clients. If that hap- sites include illustrations, textures, sions.
pens, finding the right images for a and video footage. Designers often
project will require a bit of detective cringe at the idea of using stock
work, making the most of a small photos because they feel they can
budget, and choosing wisely. make their work seem contrived.

SPhotos aren’t the only way to incorporate

imagery in design. In this case, a painting has been
cropped as a way to visually advertise an event
where the painter, Chuck Close, will be speaking.
Design: Paone Design Associates, Philadelphia

WCropping and tinting the photos makes the

imagery seem like a part of the overall design but
not the focal point. This means it is possible to use
lower-quality photos and still produce high-quality
design. Design: Alex Girard, Santa Barbara City
College, Santa Barbara, California
 Chapter 2 // Form and Space //63

Even without a photo budget, there images that can be downloaded

are still ways to successfully incor- directly from these sites. If the reso-
porate imagery into a project. Taking lution of an image is too low online,
your own digital photos is easy and one can email the person who took
immediate. Another way to find the picture and ask for a higher-
images is to search Flickr and other quality version. They will often allow
photo-sharing sites. Many people their image to be used for free as
upload full-size, copyright-free long as they receive credit.

SRedrawing an iconic image and combining it

with type or other elements, such as line or shape,
can add freshness to a well-known motif and is a
low-cost way to include imagery in a composition.
Design: Götz Gramlich, Heidelberg, Germany

SWhen designing for a cause, one often needs to be creative to come up SThe orange and green hues used as dominant colors for
with solutions that won’t cost a lot of money to produce. In this case, a structure these book covers are very different, but the size of the books
made with LEGOs is a colorful reference to Haiti. Setting the photo on a yellow and the consistent treatment of type and image will allow
background makes the poster seem complete and intentional. viewers to recognize that they are part of a series.
Design: Juan Madriz, Edo Falcón, Venezuela Design: Project Projects, New York City
X64 // Design Elements // Color Fundamentals

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 important
to identify a visual style that complements the message, package, or design
piece. Consider the budget and your own rendering skills. Determine whether
you can create an appropriate illustration yourself. In some instances, it is
possible to buy ready-made or stock illustration and alter it so that it seems
unique to the project. This is a great way to achieve maximum impact with
very little money.
The type of illustration that is being used, the context, and the intent of the
finished product should determine how color is applied. Color should be
considered from the start of the illustration process since it can change the
entire 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 that
can 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 that
is visually sophisticated and very specific. Using a one-tone illustration al-
lows color to be incorporated elsewhere within a composition and may also
be easier to accurately reproduce in print or on packaging.

SSimple line art lends expressiveness to this

composition. By using large fields of one hue at
a time, the designer avoids complicating the
composition unnecessarily, but the color still
enhances the illustration. Design: Felipe Taborda,
Rio de Janeiro, Brazil

WBy changing the value of a color scheme,

it is possible to radically alter how an image is
perceived. The image on the left seems sinister,
while the owl on the right appears merely curious.
Design: Keri Dodge, New York City
 Chapter 2 // Form and Space //65

SUsing illustration is a great way to give consistency to a series. A unified

style, combined with different color schemes, makes these posters fun and
unique. Design: Hatch Design, San Francisco

XAn illustration can be powerful enough that it can stand on its own,
visually. Here, the primary type treatment mimics the style of the illustration
and the use of color differentiates space but doesn’t overtake the image.
Design: Ames Bros, Seattle

WColor always affects how an image is per-

ceived. In this case, the illustrations of a bull seem
to be quite different, depending on the background
and fill colors used. The color choices used in the
first example make the illustration seem fairly neu-
tral, while in the second example, the background
overpowers the image and makes it difficult to
recognize. The contrast between the bright yellow
and red makes the bull seem combative and a little
mean in the final example.
X66 // Design Elements // Color Fundamentals

Color As Provocateur
Color can inspire and tease. It
can make us laugh and provoke a
response. Throughout history, color
has been used as provocateur, for
political agitation, and as a tool for
dissent. Revolutions, countries,
and even political parties are often
associated with particular hues. Yet
the same color can have different
meaning in different situations. Both
Communism and the U.S. Republi-
can, party are associated with
the color red, even though these
groups have radically different ideals SWhen the imagery and message are this powerful the use of
and goals. color should be minimal so as not to get in the way of the meaning.
Design: Garth Walker, Durban, South Africa

SThe contrast between the blue background and the SThis hard-hitting image doesn’t need more than two colors. The
black and white used in the foreground adds interest and style and color reference children’s toys and clothing, but viewers will
makes the poster more noticeable. Design: Frank Guzman, understand that the message is absolutely serious without reading the
Caracas, Venezuela supporting text. Design: David Criado, La Paz, Bolivia
 Chapter 2 // Form and Space //67

SClever wordplay is the primary communication tool here, SThe message of gay rights and violence
but setting the dark purple type against bright red further against homosexuals is immediately understood
underscores the reference to the iconic sports brand Puma. because of the use of the “rainbow” in the shape
Design: LSDspace, Madrid, Spain of the tear. Color and image convey the message
so well that it’s possible to understand what is
being communicated without reading the sup-
porting text. Design: Ulises Ortiz, Mexico City

Since color takes on meaning Nationwide protests and acts of

through context and repeated use, civil disobedience were successful,
certain movements may choose to new elections were called, and the
adopt specific colors. The environ- results brought success to the short
mental movement has used “green” but triumphant “orange revolution.”
so often, that the color has become
Because color is such an excellent
linguistic shorthand unto itself. In
communicator of tone and meaning,
the 1960s the Black Panthers used
it can be used to gather crowds, to
an illustration of a panther with
help people identify with a cause,
SIllustration is the primary communica- yellow eyes and connected it to
and even to poke fun at contempo-
tive tool used in this poster, but adding the slogans “Panther Power” and
colors that reference a map in the face
rary culture.
“Freedom or Death.” More recently,
further emphasizes this association. Setting
in 2004, the color orange took on
the blue figure against the red background
makes it stand out even more. Design: Juan new meaning when it was used by
Carlos Darias Corpas, Caracas, Venezuela the opposition movement in Ukraine.
X68 // Design Elements // Color Fundamentals

Type in Color
Whether a designer uses hand-drawn type, an expressive font, or one of
the tried-and-true standards, how letterforms are perceived will be deter-
mined by the application or absence of color. The combination of type and
color has the ability to produce successful visual design solutions, but it also
comes with challenges. How one approaches color should differ depending
on 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 have
to be careful not to apply tones with culturally specific associations to type-
heavy design.

Color and Hierarchy

The relationships produced by the hues that one chooses to apply
combining color, intensity, and letter- to type will allow certain words or
forms are nearly endless. To create phrases to stand out at the same
successful design solutions, one has time as duller or darker hues will
to understand how each element in make others recede. Color is made
a composition reacts to the others more effective by context, so when
and how they come together to working with type, it is vital to
support the message that is being choose hues that complement the
conveyed. tones present within imagery and
other compositional components.
Great typography reveals a message
A color palette should be able to
and engages its audience. Clarity of
accommodate all the typographic
form and proper hierarchy are key to
expressions that occur within a
a viewer’s understanding of content.
project. If it does not do so, it
Color can be a primary factor in
should be revised.
communicating relative importance.
Along with scale and placement,
SSize, placement, and color work together to in-
dicate hierarchy in a composition that is dominated
by both type and image.
Design: Subcommunication, Montreal
Chapter 2 // Form and Space //69

SNegative space and contrast are an excellent

combination. Layers of contrasting tones suggest
spatial depth and make the negative space engag-
ing. Design: Gotz Gramlich, Heidelberg, Germany

WLetterforms are playfully arranged so that they

create secondary shapes. Red and turquoise are
not quite complements but are close enough that
they visually vibrate off each other, adding interest
and emphasizing both type and shape.
Design: Götz Gramlich, Heidelberg, Germany
X70 // Design Elements // Color Fundamentals

Specific Fonts
Certain fonts and typographic situ-
ations may lend themselves to dif-
ferent color palettes or relationships.
The blocky letterforms of Rockwell
or Univers 75 Black can easily take
subtle tones or intense colors. How-
ever, more delicate expressions like
Bodoni Book or Frutiger 45 Light
have less visual weight and may re-
quire greater tonal contrast with the
background and other typographic
elements within the composition.

SThe orange letterforms set against the green SCustomized letterforms are excellent for
and brown background would be hard to see if display type or to use as typographic expression.
they were smaller. However, their large scale and The text in this composition is readable because
color mean that relatively few objects are needed of its size and because the pink and white letters
to fill the space. Design: Seitaro Yamazaki provide contrast against the brown background.
(Macla, Inc.), Tokyo Design: Götz Gramlich, Heidelberg, Germany

WIn some cases, it may be appropriate

to be more expressive with body text. The
body copy for this catalog is in different colors
according to the type of content and the
language into which it is translated.
Design: STUDIOKARGAH, Tehran, Iran
 Chapter 2 // Form and Space //71

SBody text is most readable when it is on a white background, but in certain

instances, using color behind type can help to create unity in a multipage project.
In this case, color breaks up the space on the page and provides multiple areas
where type can be placed. Design: Hatch Design, San Francisco

Body Text
Body text usually has to do the tunately, unless the background
heavy lifting and communicate the color is very light, is bright, or in
meat of a message. The visual some other way contrasts from the
expression that is applied to body text, using color behind the type
text should be in the service of may make the content more difficult
overall readability and it should have to read. Since a client’s message
enough contrast from the back- will most often be communicated
ground that it is distinct. Placing through text, it is imperative that the
body copy on a brightly colored colors applied to the text don’t get
background is a common technique in the way of legibility.
used by some designers to make a
SHere, color helps to differentiate columns of
page feel more “designed.” Unfor- information and makes it easier to compare data.
A unified color palette gives pages a consistent
appearance while still accommodating variation.
Design: Sebastian Guerrini, La Plata, Argentina
X72 // Design Elements // Color Fundamentals

Don’t Make Me Struggle

Viewers don’t have the time or
patience to struggle to read text.
In certain instances, the relative
hierarchy will require some parts
of the text to be more noticeable.
This doesn’t mean the support-
ing text should be hard to read.
Color only should be applied to
text when it supports clarity and
enhances visual engagement.

XA small amount of color can make an

enormous difference when conveying visual
hierarchy. Here, headlines stand out from the
black text and white background, and bold
treatment ensures that all the type is easy to
read. Design: Project Projects, New York City

SIn this poster for an exhibition of Brazilian SEven though the text is set right to left (as is
digital pictorial fonts, most of the letterforms don’t customary in Hebrew), and it is red rather than black,
need to be read. This cross-cultural composition it is easy to read and doesn’t overwhelm the page.
uses red as a specific reference to a Chinese Design: Shual Studio, Ramat-gan, Israel
paper-cutting technique.
Design: Brono Porto, Shanghai, China
 Chapter 2 // Form and Space //73

SEven though many designers shy away from

altering or stretching letterforms, these tech-
niques can be appropriate for a poster that refer-
ences movement. Creating solutions that echo
the content is more important than sticking to the
rules. Design: Billy Bacon, Rio de Janeiro, Brazil

Exceptions to the Rule

There are exceptions to every
rule. In some cases, a designer
may use type in place of imagery
or as texture. In such instances,
the letterforms may be unread-
able because of placement,
scale, cropping, or their value.
SWordplays and type compositions may break the rules of traditional When type is used as texture, it
typography, but this composition provides fresh perspective on using type is often best to use tonal varia-
in design. Design: 2FRESH, London, Istanbul, Paris
tions or colors that make it less,
rather than more, readable. If
text doesn’t need to be under-
stood, it shouldn’t give viewers
the visual cues they need to
read it.
X74 // Design Elements // Color Fundamentals

Display Text
Display type is able to accom- unusual color relationships without
modate a greater variety of visual detracting from legibility. On the
expression than body text because other hand, some projects are bet-
of its size. Adding color to large text ter suited to a limited color palette,
can make it stand out even more. regardless of the size of the text.
Color combined with scale acts like Using less color can be particularly STexture and color give this logo a distressed
a visual exclamation point. When effective for signage or when type is look that will appeal to a younger, hipper crowd.
Design: Ames Bros, Seattle
type is big, it is possible to apply a part of a wayfinding system.
wide range of tones, textures, and

Display Text Adds Expression

Lorem ipsum dolor sit amet

Lorem ipsum dolor sit amet
Lorem Ipsum Dolor Sit Amet
Lorem Ipsum Dolor Sit Amet
Lorem Ipsum Dolor Sit Amet
Lorem Ipsum Dolor Sit Amet

Lorem Ipsum Dolor Sit Amet

Lorem Ipsum Dolor Sit Amet

 Chapter 2 // Form and Space //75

Sometimes, Less Is More

Letterforms are such strong visual arresting typography by using values
elements that it is possible to create of only one color. The shapes and
highly effective type-based design negative space suggested by typo-
using limited color palettes. In some graphic forms can be just as suc-
cases, a designer may use only cessful in black and white as they
black and white and incorporate are in full color. And since printing
color elements elsewhere in the one or two colors results in sig-
composition. In other instances, nificant cost savings, this is a good
it is possible to create simple and option for low-budget jobs.

TThe difference between positive and negative XExpressive letterforms don’t always need
space, black and white, is highlighted by this or benefit from the addition of color. Sometimes,
artistic composition, which uses spots of color it is enough to leave them black and let their
to create letterforms. Design: 2FRESH, London, form stand out. Design: Esteban Salgado,
Istanbul, Paris Quito, Ecuador
Chapter 3
Meaning and Emotion

Color and Psychology

Mood and Symbolism
Culture and Place
Aspects of Color
Color as Identifier
X78 // Design Elements // Color Fundamentals

Color and Psychology

Color imparts meaning and evokes emotion. A person’s response to color
and tone can help determine how information is understood and can affect
whether a consumer buys a product or uses a client’s services. Scientists
and psychologists have studied the relationship between people’s conscious
and subconscious perception of color and their associated meanings.
Psychologists are particularly interested in the effect that colors have on the
subconscious and on how these influences relate to people’s understanding
of the world around them.
The psychology of color has both theoretical and practical relevance for
designers. In certain instances, scientists have found that the presence of
particular hues has foreseeable effects on a subject. While not yet in wide-
spread use, this kind of information might eventually allow designers to more SCertain color combinations provoke
immediate associations. The red, white,
effectively communicate with their audience. Designers who explore the and blue combination used for this book
effect that psychology has on our perception of color have the opportunity cover plays on the reference of the Ameri-
to make color choices that harness people’s intentional and unintentional can flag. Design: Ames Bros, Seattle
reactions to particular hues and combinations.

SColor is regularly used to persuade consumers to buy projects. The clothing

items in this advertisement include color only sparingly, but the overall design is
given atmosphere and made more seductive with the addition of violet highlights.
Design: THERE, Surry Hill, Australia
 Chapter 3 // Meaning and Emotion //79

Altering Behavior
That color has an impact on our to monetary decisions with subjects otherwise, the repercussions for
conscious and subconscious mind reporting that they would be more design and advertising are profound.
is certain. What is less clear is likely to spend more money on the Unfortunately, the reality isn’t that
how and when color is the primary woman in the red dress. Color’s simple. Scientists’ understanding of
motivator for altering behavior. In effect on behavior isn’t limited to at- how color can change and motivate
some cases, simple differences in traction between the sexes. Police in our conscious or subconscious
color can lead to clear changes in Wales have painted a royal blue line mind is still in its infancy. There is
behavior. For instance, scientists at on cell walls because there is some little doubt that color can be stimu-
the University of Rochester found evidence that blue may encourage lating, relaxing, engaging, and even
that men were 10 percent to 20 truthfulness. annoying, but translating that into
percent more attracted to a woman a reliable recipe to sell products or
If color really can change how we
wearing the color red than they were make viewers uniformly pay atten-
feel and possibly even cause us to
to her twin who was dressed in pas- tion to a client’s message is a long
behave in ways that we wouldn’t
tels. This preference continued on way off.

The Prediction Problem

One of the biggest problems with using science to come up with a way to
predictably affect viewers’ behavior is that there are natural variations in
people’s perception. Another issue is that we often try to match our feel-
ings to previously held expectations. These associations are based on prior
experience and may be the result of age, gender, culture, or geography and
they can get in the way when trying to isolate people’s responses to color
groupings. Generally, the more people have in common the easier it will be
to forecast their reactions. If a designer can identify and anticipate the as-
sociations that people will have with a specific color, it is possible to create
a palette that will produce the intended response.

WWhen combined with well-known shapes,

the colors red, yellow, and black are guaranteed
to reference signage. In this case, a viewer will
know that there is a direct metaphor because of
the color, the shape, and the exclamation point.
Design: 2FRESH, London, Istanbul, Paris
X80 // Design Elements // Color Fundamentals

Testing Responses
Focus groups can be a great way previous associations may overtake
to test a color palette. If a client the message or alter its meaning.
doesn’t have the budget to pay for A designer will often have to go
such a service, informally polling through several iterations of color
prospective audience members can groupings before finding one that is
be a good way to gauge whether well suited to a project. Even after
a hue or combination of colors is a general color palette has been
producing the intended communica- determined, it may be necessary to
tive results. Colors should be attrac- create numerous variations of tone SThe combination of pink, turquoise, and
tive and well balanced and should and intensity before finding the ideal brown complements the irreverence of the
match the audience’s expectations combination. programming shown on the MTV network.
of them. If these criteria are not met, Design: Ames Bros, Seattle

Fathers of Psychology
and Color
Swiss psychiatrist and founder of
analytic psychology, Carl Jung,
wrote about psychic dispositions or
archetypes that were representations
of the unconscious. Jung ascribed
meaning to particular colors for the
purpose of understanding. Sigmund
Freud, the father of modern psychol-
ogy, was also interested in how color
affected the mind. Freud’s explora-
tion of the importance of dreams
included analysis of the meaning of
particular colors within dreams for
one’s conscious life.

XA lot of thought is put into the

color palette for the packaging of new
products. This is particularly true for
items like energy bars, which tend to
be unexciting in their bare form and
where the packaging is a consumer’s
first association with the product.
Design: Hatch Design, San Francisco
 Chapter 3 // Meaning and Emotion //81

Color Synesthesia
Synesthesia is a condition in which always important to remember that
the stimulation of one sense leads an audience may either knowingly
to simultaneous involuntary experi-
ences by one or more additional
or unknowingly attribute meaning to
hues. If synesthesia is at work, a
ABCDEFGHIJK
senses. In color synesthesia (color- reaction by one sense may even
graphemic synesthesia), letters or lead to a reaction and altered per- KJIHGFEDCBA
numbers are perceived as inherently ceptional associations by another,
being colored. The phenomenon of
color synesthesia is an example of
thereby changing how a person
reacts to the design.
1 2 3 4 5 6
how variable color association can
be. When designing something, it is

SIn the past, identity marks had to take pro-

duction considerations into account. Embracing
the advances in technology, this logo not only
uses many colors but includes gradients and tex-
ture as well. Design: Culture Advertising Design,
St. Petersburg, Florida

WIt doesn’t take a lot of color to convey mood

and make a service attractive. Here, hints of
warm magenta complement accent colors from
the photos and add a bit of drama to an other-
wise clean and spare design.
Design: 2FRESH, London, Istanbul, Paris
X82 // Design Elements // Color Fundamentals

Mood and Symbolism

Color affects mood and behavior. It can change how we perceive a product
or company and it can evoke atmosphere and convey symbolism. As much
as 80 percent of our sensatory perception is determined by sight, so what
we see is paramount to our understanding of the world around us. Given
the importance of sight and the prevalence of color in the natural world, it is
not surprising that humans have come to ascribe meaning to particular hues
and color relationships.

SBright red and army green are combined with texture and
visual content to convey a slightly sinister mood.
Design: Ames Bros, Seattle
 Chapter 3 // Meaning and Emotion //83

Researchers have found that the If color can alter our ability to do
presence of color can positively simple tasks, it’s not surprising that
affect our behavior. Dr. Carlo it can be used both to affect and
Raimudo, codirector of the School to imply mood. In many cases, the
of Color and Design in Sydney, mood or atmosphere suggested
Australia, found that subjects in a by color feeds into preexisting as-
colored room who were asked to sociations. The symbolism that is
perform basic tasks had lower levels ascribed to colors may be more a
of anxiety and lower heart rate and product of continual reinforcement
blood pressure than those who than it is an intrinsic attribute of a
did the same tasks in a gray room. particular hue. Designers looking to SThe combination of an illustration dominated
Dr. Raimudo suggests that add- successfully use color in projects by the color pink and the pink used for the text
immediately conveys that the content on this
ing color to our environment can should use pairings that convey page is fresh and young.
enhance our ability to engage in the tone and feeling of the content Design: Seitaro Yamazaki (Macla, Inc.), Tokyo
problem-solving activities. Color’s before a viewer is able to compre-
ability to improve productivity and hend the message. In this way, a
mood may account for why a large color or combination of hues can
number of design offices use color foreshadow the theme or nature of
prominently in their décor. the message.

SCreating colored backgrounds is an excellent way to make a product seem

special and unique. In these advertisements, alternating warm and cool color
palettes are combined with imagery to convey mood and reference sophistication
and quality. Design: The O Group, New York City
X84 // Design Elements // Color Fundamentals

Practice Makes Perfect

Some people seem to have an
innate sense of color. They are
easily able to choose combinations
that are harmonious. It is usually
impossible to tell whether these
people have a natural gift or whether
greater interest has caused them
to study color combinations more
carefully. What is certain is that, for
most people, creating successful
color relationships is work and it is
something that gets easier only after
an ungodly amount of practice.
Inspiration is one of the greatest
shortcuts to making better color
choices. It may come at home, while
driving to work, from historical refer-
ences, or from pop-culture icons.
But, in most cases, creating the ap-
propriate color palette will still take SThis poster uses a dizzying number of colors, SPlaying off something as iconic as the Ameri-
multiple iterations and revisions. but the skillful placement of each in relation to can and French flag isn’t for the faint of heart,
the others makes the composition exciting rather but this solution plays off the content—the colors
than overwhelming or tedious. associated with the flag—and employs an original
Design: Katsui Design Office, Tokyo composition that transcends its references.
Design: Rudi Meyer, Yerres, France

Documenting
Color Inspiration
If you are just starting out as a with its use of color. You can use recognize successful color combina-
designer or feel that color remains photographs, magazines, newspa- tions faster and will become a place
a pesky problem in your profes- pers, brochures, or advertisements. to go for inspiration when there are
sional practice, consider starting Identify hues and tones that create real-world projects to work on.
a sketchbook of inspiring color harmonious or pleasing color pal- Note: There are many books on color out there
combinations. By training your eye ettes. Use colored pencils, Pantone that already do this for you. The benefit of doing it
to notice successful color relation- swatches, or scanned-in pages yourself is that it trains your eye to pick up pleas-
ships in both your personal and and sample the colors in a program ing color combinations on your own. Do this for
a year, and you will be able to make better color
professional lives, it is possible to like Photoshop or Illustrator. Finally,
choices faster.
create a customized encyclopedia paste your color combinations next
of color options that can be used as to the original image reference and
a resource when working on actual make a few notes on why this pal-
design projects. ette is successful and how it might
be useful in a design problem. This
This “inspiration book” should be
inspiration book should be a work in
highly portable. Begin by taking
progress and will be your own per-
photos and cutting out images, tex-
sonal reference guide. It will help you
tures, or text that catches your eye
 Chapter 3 // Meaning and Emotion //85

ARRIVAL TONES COLONIAL BOGOTA TONES DINNER TONES

Solid CMYK Solid CMYK Solid CMYK

SKYTONE SKYTONE CONDOMINIUMTONE CONDOMINIUMTONE TAXITONE TAXITONE

0001 C 0001 PC 0579 C 0579 PC 0683 C 0683 PC
R 119 G 132 B 144 C M Y K R 122 G 128 B 54 C M Y K R 78 G 92 B 100 C M Y K
HTML 778490 33 18 13 37 HTML 7a8036 53 35 98 14 HTML 4e5c0d 65 43 100 34

SKYTONE SKYTONE CONDOMINIUMTONE CONDOMINIUMTONE SKYTONE SKYTONE

0002 C 0002 PC 0580 C 0580 PC 0684 C 0684 PC
R 145 G 150 B 157 C M Y K R 188 G 199 B 95 C M Y K R 118 G 138 B 25 C M Y K
HTML 91969d 22 15 11 32 HTML bcc75f 30 10 79 0 HTML 768a19 58 30 100 10

SKYTONE SKYTONE CONDOMINIUMTONE CONDOMINIUMTONE TABLETONE TABLETONE

0003 C 0003 PC 0581 C 0581 PC 0685 C 0685 PC
R 197 G 203 B 209 C M Y K R 111 G 127 B 28 C M Y K R 130 G 154 B 93 C M Y K
HTML c5cbd1 12 6 5 12 HTML 6f7f1c 58 34 100 15 HTML 829a46 54 24 93 5

SKYTONE SKYTONE WALLPOSTTONE WALLPOSTTONE AJIACOTONE AJIACOTONE

WTaking the idea of color inspiration one step further allows the designer to
0582 C 0582 PC
0004 C
R 220 G 229
HTML dce5ec
B 236
0004 PC
C
10
M
3
Y
2
K
2
R 77 G 81
HTML 4d511f
B 31 C
62
M
48
Y
100
K
41
0686 C
R 169 G 182
HTML a9b65c
B 92
0686 PC
C
38
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16
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1 create a personalized swatch book of color options. In this case, each grouping
is categorized by a place or facet of hues, but this system can be customized
and used to create multiple individualized swatch books that could be paired
PASSPORTONE
0005 C
R 70 G 35 B 36
PASSPORTONE
0005 PC
C M Y K
WALLPOSTTONE
0583 C
R 148 G 147 B 54
WALLPOSTTONE
0583 PC
C M Y K
CORNTONE
0687 C
R 180 G 192 B 170
CORNTONE
0687 PC
C M Y K
with specific clients or for particular types of jobs. Design: Johanna Munoz,
HTML 462324 48 77 67 64 HTML 949336 44 31 100 7 HTML b4c0aa 31 16 35 0

New York City (courtesy of Elizabeth De Luna)

PASSPORTONE PASSPORTONE WALLPOSTTONE WALLPOSTTONE BEERTONE BEERTONE

TBy putting two photos together it is possible to come up with unusual
0006 C 0006 PC 0584 C 0584 PC 0688 C 0688 PC
R 157 G 137
HTML 9d893d
B 61 C
38
M
38
Y
92
K
9
R 244 G 252
HTML f4fcd5
B 213 C
5
M
0
Y
20
K
0
R 93 G 108
HTML 5d6c4b
B 75 C
62
M
41
Y
76
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24
pairings that create unique and quirky color palettes. The photo of a dog’s nose
combined with a wall can make color groupings that could be used in a variety
of contexts. While none of these pairings were created to be used on a specific
PASSPORTONE PASSPORTONE DOORTONE DOORTONE COLOMBIANATONE COLOMBIANATONE
0007 C
R 242 G 227
HTML f2e3bc
B 188
0007 PC
C
5
M
8
Y
29
K
0
0585 C
R 146 G 168
HTML 92a85d
B 93
0585 PC
C
47
M
20
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K
2
0689 C
R 175 G 192
HTML afc05a
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0689 PC
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36
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K
0
project or job, they provide a treasure trove of color choices that can be called
C = Coated Paper
PC = Process Coated
RGB= sRGB
C = Coated Paper
PC = Process Coated
RGB= sRGB
C = Coated Paper
PC = Process Coated
RGB= sRGB
upon for all sorts of design outputs. Design: Johanna Munoz, New York City
00 C 00 C 00 C

(Courtesy of Elizabeth De Luna)

Colectivo | Pandebono Casa De La Cultura Walls Tio Wilson | Taxi Apartment Door | Goliath
X86 // Design Elements // Color Fundamentals

Culture and Place

Culture and geographic location modern languages, there are still particular colors may be culturally
affect people’s perception and un- variations in the numbers of terms significant but are not necessarily
derstanding of color. Even our way used to refer to different hues. For universal. If a design doesn’t illicit
of describing color is determined instance, fewer words are used to the intended response from the
by where we come from. Terms for describe orange tones in English audience, it may have to do with
red, green, yellow, and blue are part and Japanese than in German and the color choices.
of almost every language except French. In Japanese, there are
Kekchi, a Mayan language spoken
In Kekchi, only five terms are
several words for red and pink tones
frequently used to describe colors:
by indigenous people in Guatemala but there is none for violet.
sacc (white), qkecc (black), ccan
and Belize. Though the difference in
How people perceive hues and (yellow), cacc (red), and rax (green
how color is communicated verbally
the meanings that are ascribed to and blue).
is less pronounced among most

SColor and the treatment of the imagery refer- SColors can have cultural association, but in
ence culturally specific historical style and give most cases, text and/or imagery will be needed
viewers cues to the content of this book. to confirm the correct interpretation of the colors
Design: Javin Mo, Hong Kong used in a design.
Design: Adrián Fernández, Asturias, Spain
Chapter 3 // Meaning and Emotion //87

WRed is commonly associated with Com-

munism and the Russian Federation, so it was a
natural choice for the outline of the country that is
placed over the heart of journalist Anna Politkovs-
kaya, who is believed to have been assassinated
for political reasons. Design: Suunnittelutoimisto
BOTH, Helsinki, Finland

SShape and color work together so that

the text “Today it is time to help” simply under-
scores the visual message.
Design: Ulises Ortiz, Mexico City
X88 // Design Elements // Color Fundamentals

Regional Specificities
In Western countries, white is often associated with weddings and with pu-
rity and innocence. On the other hand, in some Eastern cultures, white is a
funereal color and is associated with death. In China, brides often wear red
(the color of good luck), whereas in Thailand, almost any color other than
black is acceptable. What is considered beautiful, festive, and appropriate
changes depending on geography and culture. In some instances, color as-
sociations may be obvious, while in others, they can be subtle and can even
lead to misunderstandings.
Designers are hired to create work that will appeal to the broadest possible
audience but will still be sensitive to the individual characteristics that come
with culture and place. For some projects, it is acceptable and even desir-
able to make work that relies on or takes advantage of cultural specificity. In
such cases, an audience’s understanding of color and its regional associa-
tions may act like a shortcut to the message or even refer to imbedded
meaning. As long as both the designer and the client understand the par-
ticulars of the intended audience, combining ideas about color and culture
can be a fun and exciting challenge.

SThe lettering and signage for South Africa’s Constitutional

Court was based on extensive documentation of the site,
which included prison graffiti and builders’ markings. The de-
signer then created a new font based on the place and those
markings. Design: Garth Walker, Durban, South Africa
 Chapter 3 // Meaning and Emotion //89

When designing for an event it is possible to create a solution that is com-

pletely specific to that region and occasion. People outside this prefecture
in Japan might not recognize these images or the colors used, but since
the intended audience is so limited, that isn’t a problem.
Design: Nobuyuki Ozaki, Mozu Co., Ltd., Tokyo
X90 // Design Elements // Color Fundamentals

Associated Meaning
When used correctly, cultural associations and meaning can help convey a
message and put a viewer at ease. How people understand content is going
to depend on their age, gender, wealth, marital status, and country of origin.
These factors may alter whether one has negative or positive associations
to the colors used in a composition. By knowing your audience and properly
manipulating color relationships, it is possible to create visual compositions
that are on target and will enhance meaning.

SThe combination of color and image creates SThe poster for this theater festival uses colors and
an immediate association that offers a shortcut to textures that reference textile and tile design. Those
conveying the message in this poster. associated meanings are targeted at a population that
Design: Paone Design Associates, Philadelphia will be familiar with the motifs used in the composition.
Design: STUDIOKARGAH, Tehran, Iran
 Chapter 3 // Meaning and Emotion //91

SThe form of this sake container is so specific that

it wouldn’t be recognized in many parts of the world.
However, in Japan, the object and its design lead to
immediate recognition.
Design: Seitaro Yamazaki (Macla, Inc.), Tokyo
XRich tones of red, yellow, and green are paired with a
photograph. Color hints at the intended audience for this
styling product, and image confirms it.
Design: Culture Advertising Design, St. Petersburg, Florida

WThe pink and light colors used in this advertise-

ment for Kotex are considered feminine colors,
which works well for products that are aimed at
women. Design: 2FRESH, London, Istanbul, Paris
X92 // Design Elements // Color Fundamentals

Aspects of Color
Color combinations can be light and dark, hot or cold, pale or bright. The
term aspects of color refers to hues or combinations that provoke a certain
response or have predictable characteristics. The color palette that is appro-
priate for a job will always be specific to the content, the client, the context
in which the work will be viewed, and the audience that the project intends
to reach. But understanding the basic aspects of colors and their attributes
can be a helpful starting point for designers who want to use successful
color combinations to improve their work.

SThe cool green makes these stamps look fresh

and lively on any envelope.
Design: Suunnittelutoimisto BOTH, Helsinki, Finland

SBright pink letters seem to be part of the image of smoke

in this two-color composition. The photographic representation
of smoke adds depth to the two-dimensional space.
Design: Timo Turner – Schmidt Thurner Von Keisenberg (STVK),
Munich, Germany
WHere, the large yellow circle shows viewers where to
look first, while the other brightly colored circles create an
exciting compositional space. Design: Melchior Imboden,
Buochs, Switzerland
 Chapter 3 // Meaning and Emotion //93

Between 80 percent and 90 percent

of color choices are based on ratio-
nal decisions. The other 10 percent
to 20 percent can be based on trial
and error or inspiration. Choosing
which aspects of color to use in a
composition should be determined
by considering what combination of
hues would support the message.

WWhen combined with a few brighter accents,

pastel colors can form the basis of a design that
highlights content while still being interesting and
dynamic. Design: Shual Studio, Ramat-gan, Israel

Vivid compositions are likely to at- Color palettes that include light and When pairing colors, it is useful to
tract a viewer’s attention, but they dark hues have optimum contrast remember that some groupings can
may not be appropriate in all situa- and are easiest to see. Hues that make content more or less legible.
tions. The design of collateral mate- reflect light should be used along- The least legible combinations are
rial for a spa will rarely require a vivid side those that absorb it. Rarely red on blue, orange on blue, yellow
or overly saturated palette. Similarly, can two or more colors that reflect on orange, and green on orange.
intensely bright colors might not be light be used together successfully. In these combinations, the colors
appropriate for a promo for a televi- For example, a palette that includes seem to vibrate against each other,
sion documentary about depression only bright orange and yellow tones creating visual tension. Or, in the
in children. Using color combina- is likely to seem overwhelming and case of yellow on orange, there is
tions that are too timid can be prob- even garish. On the other hand, us- often not enough contrast for the
lematic as well. Designers should ing only hues that absorb color can two colors to be clearly differentiated
strike a balance between groupings lead to situations where there isn’t from each other.
that may seem brash and those that enough contrast.
don’t attract enough attention.
X94 // Design Elements // Color Fundamentals

Light Affects Color

It is always important to consider how and where the intended audience will
view a design piece. Whether something will be seen in daylight or at night
affects how color is perceived. Even small changes in indoor lighting condi-
tions (such as whether overhead lights are cool or warm) will alter color. If
hues are seen outdoors, their intensity is determined by whether they are in
direct sunlight or in shade. In reality, design deliverables often exist in a va-
riety of settings, but it is still important to consider light and how it will affect
the color used in a composition.

SThe light emanating from these colored disks

of plastic underscores how much ambient or
radiant light changes color and our perception of
certain hues. Design: Answr Inc., Tokyo.

SLight and color combine to lure customers into this storefront. Color can
be used subtlety or as an accent in a design solution that is dependent on
light. Design: THERE, Surry Hill, Australia .

SWhen designing items that are part of an exhibit or

display, it is important to take into account the lighting
in the space. Whenever possible, try to work with the
curator or building supervisor to position lights so that
they enhance the color in the design and make the
displays more accessible. Design: Project Projects,
New York City
 Chapter 3 // Meaning and Emotion //95

Warm and Cool Colors

Warm colors are based on red pig- Warm colors seem to advance
ments or light and are considered against cool colors, so a small
to be active and dynamic, while amount of a warm color on a cool
cool colors are based on blue and background is usually considered
are usually seen as calming and to be more pleasing visually than its
dependable. It is possible to change opposite. A designer may choose to
a color from warm to cool by adding put a cool tone on a warm back-
red or blue to it. For instance, add- ground to attract greater attention
ing a bit of red to yellow will make or to take advantage of the tension
a warm yellow, while adding blue to produced by that combination.
yellow will make a cool tone. How Visual elements, which differ most
well secondary colors work within from their background, will be more
a composition will often depend on noticeable, so it is possible to use
whether they are warm or cool and if both warm and cool colors within
they absorb or reflect light. the same composition.
SUsing contrast to sell products is a skill. The
bright blue applied to the labels of this chocolate
makes the candies look even richer and more
delicious. Design: Hatch Design, San Francisco.

An easy way to tell the difference

between warm and cool tones is to
compare different grays. A gray that
includes red will appear quite differ-
ent from one that uses blue or green
as a base. Similarly, a gray tone that SColors appear to be warmer or cooler de-
is just a percentage of black may pending on the hues that they are near. Here, the
red in the middle is warmer than the cooler tone
look flat compared with one that
to its right and left.
includes some colored pigment.

SThe bright pink used in this poster for

the Philadelphia Youth Orchestra is warm and
lively. It provides a great background for the
main illustrative element that is black and white.
Design: Paone Design Associates, Philadelphia
X96 // Design Elements // Color Fundamentals

Light colors are based on pale

shades; at times, they may seem
almost transparent. As colors get
lighter, the contrast between hues
decreases. Light shades make good
accent and background colors.
They also can balance brighter and
more saturated shades within a
composition.

C 06 C 17
M 04 M 13
Y 04 Y 14
K 00 K 00

C 11 C 26
M 06 M 11
Y 31 Y 18
K 00 K 00
SLight colors can be particularly effective for a simple pared-down look
when they are set against black, such as what was done on this book cover.
C 01 C 20 Design: Shual Studio, Ramat-gan, Israel
M 14 M 13
Y 11 Y 31
K 00 K 00

C 12 C 15
M 14 M 38
Y 12 Y 27
K 00 K 00

C 20 C 17
M 05 M 13
Y 02 Y 14
K 00 K 00

C 03 C 53
M 04 M 41
Y 32 Y 00
K 00 K 00

C 15 C 02
M 00 M 18
Y 10 Y 27
K 00 K 00

C 01 C 40
M 28 M 06 SWhite and light gray forms the basis of this website. The
Y 36 Y 33 addition of a few brightly colored elements is unexpected and
K 00 K 00 adds visual interest. Design: 2FRESH, London, Istanbul, Paris
 Chapter 3 // Meaning and Emotion //97

C 80 C 52 C 64 C 55
Dark colors contain black. They M 49 M 52 M 50 M 67
can add drama and create mood. Y 74 Y 91 Y 99 Y 63
K 50 K 37 K 49 K 54
Dark colors can sometimes be used
as neutrals within a composition. C 89 C 68 C 45 C 36
Like very light tones, colors with M 91 M 68 M 75 M 54
dark values have less contrast as Y 41 Y 32 Y 83 Y 63
K 43 K 13 K 65 K 13
they get darker. In order to achieve
balance, it is often best to include
a lighter or more saturated accent C 94 C 59 C 43 C 73
M 84 M 54 M 84 M 33
color in a palette that is dominated Y 46 Y 99 Y 66 Y 95
by darker tones. K 53 K 50 K 59 K 20

C 70 C 76 C 75 C 19
M 63 M 69 M 67 M 48
Y 00 Y 63 Y 67 Y 76
K 00 K 83 K 90 K 02

SEven though most of the colors used in SDarker hues can be used as a background in
this poster are somewhat dark, a little bit of packaging as well as print design. Accents of color
contrast on the left side of the composition and white type stand out on these semiopaque
makes the type stand out. brown bottles. Design: The O Group, New York City
Design: Uwe Loesch, Mettmann, Germany
X98 // Design Elements // Color Fundamentals

Bright colors are created using

pure pigment. They are the purest
form of a color without the addi-
tion of gray or black. Bright colors
are excellent at attracting attention
and are often used to advertise or
highlight products. But too many
bright colors in a single composition
can be irritating to the eye and can
actually decrease a viewer’s ability
to read or understand information.

C 00 C 58
M 84 M 77
Y 97 Y 00
K 00 K 00

C 01 C 09
M 12 M 98
Y 97 Y 95
K 00 K 02

C 23 C 10
SIt’s hard to imagine using so many bright colors in one com-
M 95 M 03
position, but this design combines them so skillfully that the color
Y 00 Y 97
ends up being the primary visual element in the poster.
K 00 K 00
Design: Katsui Design Office, Tokyo
C 00 C 35
M 72 M 54
Y 99 Y 64
K 00 K 14

C 90 C 00
M 68 M 46
Y 00 Y 97
K 00 K 00

C 00 C 59
M 96 M 79
Y 00 Y 55
K 00 K 55

C 38 C 00
M 00 M 14
Y 96 Y 60
K 00 K 00
SThe accent of bright pink against a bronze background is
C 46 C 44 sure to catch a viewer’s attention. Here, the dominant bright color
M 06 M 64 contrasts rather than mimics the product that is being sold.
Y 06 Y 94 Design: Maris Maris, New York City
K 00 K 00
 Chapter 3 // Meaning and Emotion //99

Pale colors are hues that are made up of more than 65 percent white.
They are often called pastels and may have specific cultural connotations
related to them. They are often associated with newborns and weddings,
and are generally considered to be feminine or childish. However, pastels
can make excellent accent colors or even be used to highlight subtle
color relationships.

C 01 C 28 C 00 C 22
M 14 M 12 M 28 M 00
Y 11 Y 24 Y 02 Y 27
K 00 K 02 K 00 K 00

C 31 C 15 C 16 C 60
M 23 M 06 M 00 M 54
Y 03 Y 33 Y 00 Y 29
K 00 K 00 K 10 K 00

C 12 C 20 C 00 C 02 SPale blues and greens are used for the leaf

M 10 M 27 M 16 M 22 patterns that come together to create a snow-
Y 16 Y 00 Y 49 Y 28 flake design. This is a good marriage of color
K 00 K 00 K 00 K 00 and content and proves that even a little color
can have a lot of impact.
C 01 C 36 C 22 C 37 Design: Paone Design Associates, Philadelphia
M 14 M 49 M 07 M 12
Y 11 Y 54 Y 07 Y 03
K 00 K 10 K 00 K 00

SWhen designing for permanent spaces, it is important to consider the

context of how a space will be used. The designs on this stadium wall can be
fairly subtle since there is likely plenty of visual activity from the people moving
through the space. Design: Garth Walker, Durban, South Africa
X100 // Design Elements // Color Fundamentals

Hot colors are based on warm

tones that have red in them. When a
color is defined as “hot,” it is usually
both warm and bright. Examples
include bright orange, scarlet, and
magenta. Hot colors make a state-
ment. They can liven up a composi-
tion and are useful when promoting
a product.

C 00 C 15
M 96 M 98
Y 00 Y 07
K 00 K 23

C 00 C 02
M 45 M 09
Y 95 Y 95
K 00 K 00

C 00 C 01
M 06 M 31
Y 99 Y 53
K 00 K 00

C 00 C 11
M 71 M 44
Y 95 Y 00
K 00 K 00

C 00 C 09 SYellow and bright pink are combined to create a

M 83 M 95 dynamic layout that uses type and image to convey
Y 95 Y 95 excitement and energy. Design: Manuel González
K 00 K 12 Ruiz, Factoria Gráfica, Caracas, Venezuela

C 00 C 00
M 42 M 16
Y 55 Y 49
K 00 K 00

C 03 C 00
M 60 M 96
Y 00 Y 00
K 00 K 00

C 00 C 44
M 45 M 65 SThe hot pink in this logo is aimed at the
Y 95 Y 99 female audience that the organization Jewish
K 00 K 00 and Proud is targeting.
Design: Marc Rabinowitz, New York City
 Chapter 3 // Meaning and Emotion //101

Cold colors are cool tones that are most often based
on the primary color blue. They are an excellent choice
SCool silver and blues make these vitamins seem when one needs color to recede into the background,
both cutting edge and trustworthy. The triangles and to highlight a subtle message, or to communicate trust
different shades of blue are great to repurpose for
advertisements aimed at health-conscious consumers.
and conservativeness.
Design: Hatch Design, San Francisco

C 38 C 28 C 98 C 22 C 66 C 84
M 00 M 13 M 95 M 00 M 43 M 43
Y 17 Y 24 Y 21 Y 27 Y 35 Y 49
K 00 K 01 K 16 K 00 K 06 K 19

C 92 C 15 C 16 C 68 C 16 C 75
M 54 M 06 M 00 M 68 M 00 M 67
Y 96 Y 33 Y 00 Y 32 Y 00 Y 67
K 38 K 00 K 10 K 13 K 19 K 90

C 94 C 15 C 22 C 90 C 98 C 14
M 84 M 09 M 00 M 44 M 95 M 09
Y 46 Y 08 Y 15 Y 71 Y 22 Y 07
K 53 K 00 K 00 K 17 K 16 K 00

C 96 C 98 C 31 C 95 C 35 C 98
M 65 M 76 M 00 M 99 M 35 M 99
Y 37 Y 48 Y 05 Y 32 Y 00 Y 32
K 20 K 57 K 00 K 35 K 00 K 35
X102 // Design Elements // Color Fundamentals

Neutrals are hues that have a large percentage of brown or gray, and they
are one of the most overlooked and underutilized categories of color. If
used correctly, they are great all-purpose tones. They can add emphasis
and help a viewer navigate through content without the distraction of spe-
cific cultural connotations.

Color palettes dominated by these hues work well for projects that are
aimed at a sophisticated audience or when the content should invoke
calm and peaceful feelings. Neutral tones might be most appropriate when
designing collateral for a coffee bar or when working with packaging that
should showcase the product rather than its wrapping. Neutral tones are
also highly effective as secondary colors or background tones within a pal-
ette that includes brighter or more intense hues.

SRemoving the color from a photograph or tinting an image so

that it is reproduced in gray is a good way to achieve a unique solu-
tion and to work with simple compositional elements.
Design: Sebastian Guerrini, La Plata, Argentina

WThe use of neutral colors in both the background and the

foreground of the photograph creates an unusual solution that is
successful without any bright tones.
Design: José Manuel Morelos, Veracruz, Mexico
 Chapter 3 // Meaning and Emotion //103

C 60 C 14 C 74 C 45 C 23 C 61
M 50 M 15 M 64 M 41 M 17 M 61
Y 51 Y 18 Y 58 Y 50 Y 33 Y 73
K 19 K 00 K 54 K 07 K 00 K 63

C 40 C 36 C 40 C 67 C 30 C 26
M 54 M 32 M 30 M 52 M 25 M 31
Y 74 Y 40 Y 30 Y 55 Y 31 Y 59
K 21 K 00 K 00 K 29 K 00 K 18

C 26 C 09 C 38 C 65 C 15 C 07
M 36 M 14 M 32 M 58 M 12 M 01
Y 57 Y 22 Y 45 Y 66 Y 13 Y 01
K 01 K 01 K 01 K 58 K 00 K 34

C 33 C 50 C 66 C 76 C 51 C 76
M 44 M 63 M 50 M 69 M 62 M 69
Y 60 Y 70 Y 67 Y 63 Y 62 Y 63
K 07 K 45 K 48 K 83 K 35 K 83

SThe use of neutral hues carries over into every part of the design for
the Fragner brand. The system allows for additional materials such as
natural wood, and even pastries, to be part of the overall look and feel.
Design: Schmidt Thurner Von Keisenberg (STVK), Munich, Germany
X104 // Design Elements // Color Fundamentals

Color as Identifier
Color is all-important when brand- memorable. When we think of Coca- Conversely, banks and financial insti-
ing or creating a visual identity for a Cola and Verizon, we immediately tutions usually employ more sub-
company. An identity mark or type think red. Likewise, the color blue is dued color palettes because they
treatment is likely to be what people associated with iconic brands like want to show that they are safe,
remember most when they think of United Airlines and Walmart. Design- conservative, and trustworthy.
that business. The hues and tones ers often choose primary colors for
used for a new logo can literally the visual mark of important brands.
make or break the company that it is However, there are successful com-
associated with. panies that use more unusual hues
as part of their identity. The pink
When creating an identity mark or
used by T-Mobile makes it stand out
logo, color can help make a dis-
and suggests that the company is
tinct visual impression. Companies
younger, hipper, and more nimble
that have used color successfully
than its rivals Verizon and Sprint.
in branding are recognizable and

SContemporary logos are often customized with colors or other visual

texture. This set of museum logos is successful in red and gray but can
also be dressed up by adding imagery into its signature letterform O.
Design: Finn Nygaard, Fredensborg, Denmark
 Chapter 3 // Meaning and Emotion //105

WThe green in this logo makes the two shapes

on the bottom seem like leaves or a part of a
growing plant. This adds communicative value to
the identity system.
Design: Sebastian Guerrini, La Plata, Argentina

SMoving splashes of color are the basis for the identifier for this opening
spot. Even with only a few seconds of airtime, color and motion make this
design highly memorable. Design: Interspectacular, New York City
X106 // Design Elements // Color Fundamentals

Targeting an Audience
Color choices should be made what it sells or is trying to com-
carefully and be based on the initial municate to consumers. Find out
project brief, information about the everything you can about the target
client company and its competitors, audience. Are they conservative
and an analysis of what the client or liberal? Young or old? Male or
wants to convey to its customers or female? Will they be likely to take
to the intended audience. Remem- risks? Are they interested in trying
ber that people “feel” as well as see new things, or do they just want to
color, and will ascribe a set of values be reassured and made to feel at
or attributes to a company based ease with the company? How these SIn many cases, type is strong enough to
on how they understand color. A questions are answered will provide be the sole visual presence of an organization.
Consider giving clients a black-and-white ver-
designer should identify the unique good indications about which colors sion of the design that can be used where color
characteristics of the company and might be appropriate to associate isn’t appropriate.
learn as much as possible about with the company or brand. Design: 2FRESH, London, Istanbul, Paris

WUsing overlays gives this logo the appear-

ance of visual depth and works well with the
organic theme.
Design: Sebastian Guerrini, La Plata, Argentina
 Chapter 3 // Meaning and Emotion //107

WLetting type and form be the primary focus

of an identity is a good solution, especially if
they are paired with a simple two-color palette.
Design: Sebastian Guerrini, La Plata, Argentina

Variations of an identity can be used for different

products. Humble packaging is made quirky and
fun by the addition of customized labels that use
diverse type treatments for the name of the com-
pany. Design: Subcommunication, Montreal
X108 // Design Elements // Color Fundamentals

Color in Context
Specific research about context and culture will ensure that color doesn’t
get in the way of what the client wants to communicate. A client may ad-
dress some of these issues in the project brief. If not, it is still the designer’s
job to take these variables into consideration. Find out whether the identity
mark will have to work in an international arena or whether it will be con-
fined to a local space or a particular country. Also consider whether there
are cultural associations with the company, its products, or its services that
customers should know about. If so, using colors that are linked to a certain
region or place may help to increase sales for the client.

SThe contrast between the orange and

green differentiates the two parts of this logo
and highlights the fact that the c has been
given cat ears. This design has the benefit
of working at any size in a variety of media.
Design: LSDspace, Madrid, Spain

WA logo may be repeated on other collateral material so that a com-

pany can fully brand all aspects of its operations. In this case, the brightly
colored design for Danish Air Transport is repeated on the planes and is
incorporated into the flight attendants’ outfits in addition to being used in
more traditional situations. Design: Finn Nygaard, Fredensborg, Denmark
 Chapter 3 // Meaning and Emotion //109

How successful the specific design answering the preceding questions. specialists working in marketing
of a logo or mark will be depends Similarly, an analysis of the audi- may already identify specific hues
on whether it will be viewed in print, ence or intended customer base will in the project brief. Regardless of
on TV, in advertising, on a physical provide great data when choosing whether research was conducted by
product, or online. Find out where colors for an identity. It should be the design team or with the help of
the mark will primarily be seen. This possible to make some basic color marketing professionals, using data
will help to isolate what colors will decisions based on the information and fact finding will make it easier to
work for the client, and will also indi- that was found during the research convince a client that the best pos-
cate how intense those hues should phase of a project. Before present- sible colors have been chosen for
be and whether it is appropriate to ing color choices to the client, test the solution.
combine more than one color to various color palettes on the identity
create a visual mark. mark or type treatment.
The designer should be able to cre- During client meetings, it is helpful
ate a virtual “picture” of a company, to use data to back up the reasons
its values, its attributes, and the why particular color palettes would
messages it sends to customers by be successful. In some cases,

SIn most cases, identity systems try to be both visually simple and serious.
However, there is always room for exceptions. These marks are evocative and
visually interesting, even though they are visually complicated.
Design: Garth Walker, Durban, South Africa
X110 // Design Elements // Color Fundamentals

Brand Guidelines
How a brand is seen across a variety To ensure that a client’s identity ap- online, on TV, or in some other form
of media and in different situations pears consistently in a wide range of digital media, identity marks that
is too important to be left to chance. of media and over time, designers rely on three or more colors have
But just because one designer cre- create branding guidelines. These become more common. A logo or
ated the visual mark for a company, guidelines act like an insurance pol- typographic mark may be designed
doesn’t guarantee that the same icy and will guarantee that the PMS to work both in full color and in black
person will be hired to design all (Pantone Matching System) blue and white. The greater the variations
the collateral or messaging. An in- that was part of the initial design— that occur with a mark, the more im-
house team may take over once the and that the client approved—will be portant it is to create clear and con-
client has approved the final logo used in all future brand deliverables. cise guidelines for how color, type,
or identity mark. In some cases, a and spacing should appear. These
In the past, logos would often use
prestigious designer or design studio guidelines are presented to the client
only one or two colors, but as print-
is hired to create a mark but another at the end of the project and will be
ing has become less expensive and
company or freelance designer will used long after the design of a mark
more companies have a presence
create the other collateral. or logo is completed.

SThe brand guidelines for Stylecraft include examples of the identity,

how it should be spaced compared with other visual elements, a primary
and secondary color palette, and examples of incorrect logo usage.
Design: THERE, Surry Hill, Australia
 Chapter 3 // Meaning and Emotion //111

SDesigner Bob Wilkinson had the chal-

lenge of incorporating the logo for UKAID
into the identity treatment for the organiza- Dos and Don’ts
tion Esspin. In the brand guidelines, he of Designing Identities
provides a palette for full-color printing,
Don’t design a mark that is too simi-
for single-color printing, and for black and
white. This ensures that the logo treatment Do make an identity mark that is lar to the client’s competition or too
will remain consistent, even though the visually distinct. much like a well-known brand.
production may change depending on how
a project is produced. Do use colors that will be visually Don’t make a mark that works only
Design: Bob Wilkinson, Abuja, Nigeria successful across media. at one scale, that is, it is too visu-
ally complicated or uses too many
Do create a logo that can be used
distinct hues.
as a one-color mark or as a multi-
color mark. Don’t use two or more colors for
a logo if the mark will need to exist
Do deliver brand guidelines that
in many different situations (or
specify specific PMS or CMYK col-
create both one-color and full-color
ors and other attributes of the mark
versions).
and how it should be used.
Chapter 4
Organizing with Color

Catching a Viewer’s Attention

Series and Structure
Infographics
Layouts
Color in Motion and Media
X114 // Design Elements // Color Fundamentals

Catching a Viewer’s Attention

Color is an excellent organizational tool and can be used as a way to dif-
ferentiate content in packaging, print, and screen-based work. It can also
be used to aid in wayfinding, information graphics, and multimedia design.
Like semiotics, color gives cues that can stand in for a set of ideas, direc-
tions, or feelings. When working with multipage documents or on a project
with many parts, tones and hues can be used to connect content or call
out information. On the Web, color can give structure to text and image; in
packaging, color provides a visual face to a product; and in motion, color
can help to create reference for space and form.

SA relative balance has been achieved by

repeating the circles behind the numbers that
are the same color as the shapes at the top and
bottom of this composition. Design: Billy Bacon,
Rio de Janeiro, Brazil

WA hint of imagery and a lot of white space are

set against irregular colored edges to give this
poster a dramatic advantage.
Design: Finn Nygaard, Fredensborg, Denmark
 Chapter 4 // Organizing with Color //115

SThe black and blue used in this poster SUsing a lighter value of a color, or gray, can give
reference oil and the ocean that it spilled into. a smooth, sophisticated look. The “character” used in
The cold blue against the black communicates this design adds enough visual interest that a highly
the seriousness of this topic. Design: Jesús saturated color palette isn’t needed. Design: 2FRESH,
Rodríguez, Doral, Florida London, Istanbul, Paris

There is a common quip in the art world that suggests that if you can’t
make something big, you should “make it red.” While that advice is overly
simplistic, it is absolutely true that color has the benefit of being seen and
identified from great distances. Think about how easy it, is to make out the
logo of a well-known company like Target or McDonalds from hundreds of
feet away, even while driving down a highway. The principle that color stands
out against other compositional elements applies to posters, billboards, and
even motion graphics.
Given the sensory overload that most viewers contend with, it’s not surpris-
ing that color is very often the first thing we notice. After color, we tend to
become aware of images and then of brand markers, and finally, we get
around to focusing on the message the designer is trying to convey. For
inexperienced designers, it might seem that the more color one uses, the
more likely a viewer is to pay attention to the message being communicated.
Unfortunately, it’s not that easy. Too much color and/or color combinations
that aren’t harmonious may be unattractive and cause viewers to turn away.
Also, overly complex or saturated color combinations are not appropriate for
every message or in every situation. SOne way to make colors look like they belong
together is to use hues of the same value, as was
done for this cover design.
Design: Martijn Oostra, Amsterdam, Netherlands
X116 // Design Elements // Color Fundamentals

It Gets Easier
Good color decisions are almost
always the product of some degree
of experimentation, but making
the right choices gets easier with
experience. In the beginning of one’s
career, it might be necessary to go
through numerous variations in order
to achieve a harmonious relation-
ship, while an experienced designer
will often arrive at a successful color
palette more quickly.

SDark colors work well when paired with brighter hues.

The brown that is used for this brochure looks rich and
velvety because it is set against bright orange.
Design: Willoughby Design Group, Kansas City, Missouri

SHaving colors that are in the same value range, but in different SThe reference to the colors of a flag overpowers
hues, clearly indicates that these ribbons are all produced for the the more traditional associations that viewers may
same company. The consistent type treatment and pattern further un- have with the combination of red and green.
derscore the similarity. Design: Seitaro Yamazaki (Macla, Inc.), Tokyo Design: Marina Córdova Alvéstegui, La Paz, Bolivia
 Chapter 4 // Organizing with Color //117

Tricks to Get It Right

The best way to achieve successful get in the way of the message. An
color combinations is to plan ahead. example of an imbedded color con-
It is also important to make sure all nection is the correlation between
decisions are based on the content red and green and the Christmas
of the message, the audience, and holidays. In many parts of the world,
the context in which the project will it is difficult, but not impossible, to
be seen. Try to identify any cultural use red and green together without
implications that a color might thinking of Christmas.
have ahead of time, and consider
whether any implied meaning might

SS The simplified drawing of arms and hands

combined with bright colors emphasize the play
between positive and negative space. Design:
Santiago Pol, Caracas, Venezuela

SThe combination of symbols is emphasized

by the warm yellow and red tones used in this
logo. Design: 2FRESH, London, Istanbul, Paris

XA vibrant rainbow of colors more reminiscent

of the tropics than a winter holiday sets off the
shape of the pine tree on this Christmas card.
The unconventional palette brings interest and
excitement to what can otherwise be an over-
wrought subject.
Design: Juan Madriz, Edo Falcón, Venezuela
X118 // Design Elements // Color Fundamentals

Tools for Selecting Colors

Numerous online tools to aid in color selection have been developed in
recent years. Most of these sites are free, though some require users to
create an account. Adobe Kuler (kuler.adobe.com) claims to be able to
produce options that are applicable to any project and is a good source
for designers looking to view a large variety of color palettes. The site uses
crowd sourcing to identify and then rate various color combinations.

Color Scheme Designer is one of the Web safe, Pantone, etc.) and the
most useful online resources avail- application even provides groupings
able (colorschemedesigner.com). that will be visible to people who
It allows users to decide which type have color-impaired sight. The ben-
of grouping they want to use e.g., efit of using online resources is that
mono, complementary, triadic, etc. they make a tremendous amount of
The application then generates information available quickly. They
various palettes based on the base are also excellent places to go for
colors selected by the user. Color inspiration and can be particularly
Scheme Designer shows colors useful for young designers and/or
in sample layouts and allows the to use in projects where a specific
user to apply more or less satura- hue is required to be the base of a
tion. Users can pick which color color scheme.
SWhite type stands out but doesn’t
system they want to use (RGB, compete with the layered color shapes
in the background. Design: Juan Carlos
Darias Corpas, Caracas, Venezuela

SComing up with color palettes for four different yet related posters might
seem daunting to an inexperienced designer. But this series shows what a
difference color relationships can make and that it is even possible to use very
different palettes within one series. Design: Schmidt Thurner Von Keisenberg
(STVK), Munich, Germany
 Chapter 4 // Organizing with Color //119

Communicating the Message

After you have attracted an audience, the design must be strong enough
to hold the viewers’ attention and convey the message. Color is an excel-
lent tool to order and express information. Unfortunately, inappropriate color
combinations may cause a viewer to lose interest before the message has
been communicated. In such cases, color may be the downfall of an other-
wise successful composition or communications program.

XThese brightly colored banners are sure to be noticed. Using clean white
text ensures that the text can be easily read, even from a distance. Design:
Sebastian Guerrini, La Plata, Argentina

TColor and imagery help to draw a viewer’s attention, but the separation
of different sections allows the information to be communicated in a clear and
concise manner. Design: Alex Girard, Santa Barbara City College,
Santa Barbara, California

ENFERMERÍA
La enfermería exige capacidad de comunicación con una amplia variedad de personas, para Requisito: Requisitos necesarios para English 70y 80.
NURSING
Nursing requires an ability to communicate well with a wide variety of people, to attend to their Prerequisite: Eligibility for English 70 and 80.
atender a sus necesidades, y trabajar en un ambiente controlado donde el poder seguir Continuing Education (Educación para adultos) ofrece vari- needs, and to work within a controlled environment where following procedures is crucial. Health Continuing Education offers several related certificates:
procedimientos es fundamental. Los trabajadores de la salud pueden ser obligados a trabajar os certificados relacionados: Asistente de cuidado personal care workers work with doctors and supervising nurses and may be required to work night or Personal Care Attendant (PCA); Health Care Interpreter
turnos de la noche o de fin de semana. Para los programas de LVN y ADN / RN, la ciencia y (PCA); Intérprete de cuidado de salud (HCI); y asistente de weekend shifts. For the LVN and ADN/RN programs, science and math skills are also important. (HCI); and Restorative Nurse Assistant.
las matemáticas también son importantes. enfermero/a restaurativo/a.

* El sueldo puede cambiar. Salario TÍTULO UNIDADES POSIBLES TÍTULOS SUELDO MEDIO * PROYECCIÓN DE DEMANDA DEGREE OR UNITS POTENTIAL JOB TITLES MEDIAN SALARY * PROJECTED JOB * means
Salary may change. Median Salary
the mid-range of salary. Entry-level
medio significa el punto medio del
ENFERMERÍA

NURSING
sueldo. Los empleados principiantes CERTIFICADO DE TRABAJO POR HORA DE TRABAJO AUMENTO CERTIFICATE HOURLY DEMAND INCREASE workers may make 10–20% less than
pueden ganar del 10 al 20% menos 2006-2016 2006–2016 the median.
del salario medio.
Special Notes
Apuntes especiales Condecoración en habilidades Skills Competency Award 1 Admission to LVN, CNA, and
1 La aceptación a los programas 6 6 ADN programs all require separate
de LVN, CNA y ADN requieren
Asistente de enfermero/a certificado Certified Nursing Assistant (CNA) applications.
solicitudes separadas.
Asistente de enfermero/ 2 Students who want licensing in the
State of California must take an additional
2 Los estudiantes que desean
Al completar la a certificado SB: 37.8% Certified Nursing Assistant SB: 37.8%
obtener una licencia en el estado Condecoración en habilidades Upon completion
Skills Competency Award state exam upon completion of their
de California deben tomar un
examen adicional al completar
condecoración en
habilidades del CNA,
los estudiantes
Asistente de salud en el hogar
1.2
Asistente de salud en
$10.42 CA: 39%
US: 33.5%
of the CNA Skills
Competency
Award, students
Home Health Aide (HHA)
1.2
Home Health Aide
$10.42 CA: 39%
US: 33.5%
course of study.

sus estudios.
pueden escoger el hogar may choose two
condecoración en additional Skills
dos opciones de
habilidades
Condecoración en habilidades Competency
Skills Competency Award
CNA en el cuidado de adultos 1.8 Award options.
Acute Care (CNA) 1.8

Certificado de distinción Certificate of Achievement

53.25 53.25
Enfermería vocacional (LVN)** Vocational Nursing (LVN)**
SB: 4.4% SB: 4.4%
Enfermero/a vocacional
licenciado/a $23.46 CA: 17.5%
US: 14%
Licensed Vocational Nurse
$23.46 CA: 17.5%
US: 14%
Associate en ciencia Associate in Science
53.25+ 53.25+
Enfermería vocacional (LVN) Vocational Nursing (LVN)

SB: 17.6% SB: 17.6%

Associate en ciencia Associate in Science
17 Enfermería (ADN/RN)***
37.6–40+ Enfermera/o registrada/o
$35.35 CA: 25%
US: 23%
Nursing (ADN/RN)***
37.6–40+ Registered Nurse
$35.35 CA: 25%
US: 23% 18
**Requisito: Requisitos necesarios para Math 100 y English 100 y 103.*** Requisitos: Math 107 o 111 o requisitos para matemáticas de nivel más alto; English 110 o 110H. **Prerequisite: Eligibility for Math 100 and English 100 and 103. *** Prerequisite: Math 107 or 111 or eligibility for higher level Math; English 110 or 110H.

ARTES CULINARIAS
Para las artes culinarias, el amor por la comida y el servicio al cliente son factores importantes. Requisitos de habilidades: Math 100 y requisitos necesa-
CULINARY ARTS
For culinary arts, a love of food and customer service are both important. Positions range from Skills Advisories: Math 100 and eligibility for
Posiciones de trabajo van desde mesero a chef a un gerente de establecimiento de comida. rios para tomar English 110 o English 110H. food server to chef to manager of a food service establishment. Work frequently requires evening English 110 or English 110H.
A menudo se requiere trabajar por la noche o durante fines de semana. or weekend hours.

* El sueldo puede cambiar. Salario TÍTULO UNIDADES POSIBLES TÍTULOS SUELDO MEDIO * PROYECCIÓN DE DEMANDA DEGREE OR UNITS POTENTIAL JOB TITLES MEDIAN SALARY * PROJECTED JOB * means
Salary may change. Median Salary
the mid-range of salary. Entry-level
medio significa el punto medio del
ARTES CULINARIAS

CULINARY ARTS

sueldo. Los empleados principiantes CERTIFICADO DE TRABAJO POR HORA DE TRABAJO AUMENTO CERTIFICATE HOURLY DEMAND INCREASE workers may make 10–20% less than
pueden ganar del 10 al 20% menos 2006-2016 2006–2016 the median.
del salario medio.
Salaries vary widely depending on the
Los sueldos varían bastante y pueden position and may not take into account
Condecoración en habilidades Skills Competency Award tipping for service positions.
no tener en cuenta las propinas para 8 Chef personal Estas son áreas muy especializadas. 8 Personal Chef
las posiciones de servicios. Entrenamiento de chef personal Personal Chef Training These are specialized areas.
Los sueldos varían bastante. La base
The EDD database does not show
de datos EDD no especifica detalles de
salary or projected job demand
especialización, por lo cual no existen
Condecoración en habilidades Skills Competency Award for these specializations.
8 Chef pastelero proyecciones de demanda de trabajo. 8 Pastry Chef
Horno y pastelería Baking and Pastry

Certificado de distinción Cocinero principal, Supervisores/ Certificate of Achievement Chef/Head Cook

Artes culinarias 55.5 Gerentes en preparación y servicio Culinary Arts 55.5 Manager/Supervisor of Food
de comid, Trabajadores, Cocineros $8.55- SB: 9.98%
CA: 19.71%
Preparation and Serving Workers $8.55- SB: 9.98%
CA: 19.71%
Associate en ciencias
y trabajadores de preparación de
comida, Cocineros de restaurante
19.89 US: 11% Associate in Science
Cook and Food Preparation Worker
Restaurant Cook
19.89 US: 11%
Artes culinarias 55.5+ Culinary Arts 55.5+
Servidores de comida, Chef Food Server

11 12
X120 // Design Elements // Color Fundamentals

Over-the-Top Color Solutions

Combinations like black and yellow, before applying them to the content.
neons, and other fully saturated col- Then visualize where the end result
ors provide a visual punch that can will be seen. In some instances,
be startling and sometimes even loud colors will blend into a busy
unsettling. These hues can be garish environment and actually reduce the
and overly dramatic when communi- likelihood that a design solution will
cating more complicated messages, be noticed. However, if the output
but they are also immensely useful. will be seen by itself or against a
Context is key. Ask whether the muted or neutral background, using
content being communicated can a palette based on bright colors
handle dramatic hues and if such can make the difference between
color relationships are appropriate a mediocre design and an award-
to the audiences being targeted. Ex- winning one.
periment with various combinations

SPink, blue, yellow, and black are the only

colors used here, but their strength gives this
design the feeling of intensity that is intentional,
even though it is extremely bright. Design: Valter
Daniel Cacurri Oltra, Caracas, Venezuela

SIn this book, the imagery and body text have

equal visual weight and are both highly acces-
sible. Design: Project Projects, New York City

WRed, white, and blue are usually reserved for

flags and patriotic memorabilia, but this poster
uses this well-known combination to its greatest
advantage, creating a lively and ironic solution.
Design: Dr. Alderete, Mexico City
 Chapter 4 // Organizing with Color //121

Contrasting Colors
Contrasting colors are highly satu- by pairing colors that are comple-
rated, give a lively impression, and mentary or opposite on the color
can be used to create expressive wheel. Contrast can be particularly
color palettes. These colors can useful when certain elements need
get an audience’s attention and to stand out within a composition,
hold it for long enough to convey so using a contrasting color as an
the client’s message. Contrast may accent within a palette can be espe-
come from hue or intensity. It may cially effective.
capitalize on the difference between
light and dark, or it may be achieved
SImagery and other graphic elements add
richness and interest to multipage projects.
Design: Project Projects, New York City

Don’t Let the Design

Overtake Legibility
Most designers can appreciate a
high degree of subtly, but to other
viewers, slight differences can be
confusing and may even go unno-
ticed. Gray text on a white back-
ground may seem refined, and
choosing subtle hues in a narrow
tonal range can be sophisticated
in certain instances. Unfortunately,
these decisions often don’t work as
well in real-life situations or for di-
verse audiences. This is particularly
true when designing for an older au-
dience or in situations where people
may have difficulty seeing small type
or noticing subtle tonal variations.

XThe multicolored facets of these characters almost seem

to vibrate against the white background, but when letter-
forms or other typographic characters are used as a design
element, it is appropriate to be more expressive, especially if
the supporting type is clear and easy to read.
Design: Katsui Design Office, Tokyo
X122 // Design Elements // Color Fundamentals

Getting Feedback
A good way to test how well color choices are communicating a client’s
message is to get feedback on preliminary design solutions. Asking
other people’s opinions provides valuable information and can help a
designer avoid mistakes. Always put the successful communication of a
client’s message first and avoid making design that will be seen as
successful only among other designers (unless, of course, designers are
the target audience).
The best design uses formal elements such as image, color, shape, line,
and type combined with variables such as scale, value, and placement to
communicate to both visually educated and more general audiences. The SThe color on the home page of this website
MTA subway signage in New York City, designed by Massimo Vignelli, is is derived mostly from imagery. This is a good
lauded as a major achievement in the design world because of its smart solution when a company has great photography
simplicity. It uses a system based on color and easy-to-read Standard (and to represent what it does.
Design: Sebastian Guerrini, La Plata, Argentina
later Helvetica) text to communicate important transportation information.
The same usefulness and clarity that Vignelli achieved in the MTA subway
can be applied to almost any design project.

SInterior and exterior color schemes are well matched in this

selection of recipe cards. The color on the exterior packaging
makes the product seem fun and useful, and the layouts of the
individual cards use color to highlight different aspects of each
recipe. Design: The O Group, New York City
 Chapter 4 // Organizing with Color //123

SA viewer will often have expectations of

how a package for a certain product should
be designed. In this case, choosing a color Questions
palette that didn’t fit the jams might have to Evaluate Success
caused confusion, so the designers mimicked
the color of the product with the packaging.
Design: Metalli Lindberg, Treviso, Italy Assessing whether a project was 1. Did the design and color choices
successful is a necessary part of enhance the content?
the design process. It ensures that
2. Was it memorable?
mistakes are not repeated and can
help a designer arrive at better solu- 3. Did it elicit the correct response
tions more quickly on future proj- (i.e., did the viewer watch the
ects. Asking the following questions show, go to the event, buy the
will help you evaluate how effectively product, remember the brand,
color was used in a design project. or take action)?
X124 // Design Elements // Color Fundamentals

Series and Structure

In many instances, content benefits
from being categorized or being
broken down into multiple parts. In
some cases, such as in the design
of a magazine or a book series, an
entire project or job may be de-
pendent on the viewer understand-
ing that there are many parts of a
whole or that content is delivered
in chunks according to a prede-
termined timeline. Using variations
in hues or changing the dominant
color in a palette can be an excellent
way to differentiate serialized text or
to show messages that are related.
This technique allows a viewer to
quickly distinguish between sections
or parts.
SIndividual items are given their own dominant
tone while diverse repeated patterns allow the
different items in the product line to be seen as a
whole. Design: Maris Maris, New York City

WColored spines differentiate these

publications, even when they are pack-
aged together.

When taken out of their protective case,

the colors are different but the consis-
tent decorative pattern represents unity.
Design: Finn Nygaard, Fredensborg,
Denmark
 Chapter 4 // Organizing with Color //125

WThe full-color background on the right-hand

page complements the tones present within the
imagery on the facing page, and the color is used
to set this text apart from other pages in the book.
Design: Hatch Design, San Francisco

TThe difference in color is enough to make each poster in this series seem
individual, and the fact that all other compositional elements are consistent
makes the posters similar enough to be easily identified as being part of a
series. Design: Gerwin Schmidt – Schmidt Thurner Von Keisenberg (STVK),
Munich, Germany

Difference and Similarity

Color can be an effective way to greater the contrast between colors, differentiate items within the series
communicate difference and similar- the easier it will be for viewers to or whether color will be a unifying
ity. A small tab of color on the edge distinguish elements in a group. One element in the design. Both systems
of a page can tell readers that they way to code similarity in a series have their benefits. If a specific hue
have come to a new section in a is to use several hues that have a is used to show difference, it is
book, annual report, or website. If similar value. This way, the color is often best that colors be designated
color is used as a coding device, it unique and communicates differ- for that purpose and be used as a
is essential that it be clear, simple, ence, but the tonal value shows dominant tone in any other compo-
and consistent. Values that are too connection. nent in the series. When using color
closely related may cause confu- to unify a document, it is often best
When working with a series or using
sion. For instance, using a range of to use it often and/or to repeat its
color as a structuring tool, the first
similar values of the same hue may location so that readers can learn
thing to do is to decide whether it
communicate similarity rather than the system.
is more appropriate to use color to
differences to some viewers. The
X126 // Design Elements // Color Fundamentals

Packaging and Display

Color influences our responses and is used by designers to help make
products, packaging, and display systems more memorable. Particular hues
are used to catch a consumer’s eye and to entice them to buy a product or
service. Color is almost always significant in the promotion of a product, and
in the case of packaging, it can be a stand-in for the public face of a particu-
lar product or service. Specific tones or combinations are often associated
with certain brands such as the green used on Sprite cans or the yellow and
black used by Kodak. While it won’t always be possible to achieve such
immediate recognition, color will almost always help to attract buyers and
differentiate one product from another.

SA rich brown makes a great back-

ground for the brightly colored central part
of the label, which is different for each
flavor of chocolate. Design: Hatch Design,
San Francisco

SSometimes high-intensity colors will make a display more memorable, SThe accents of bright yellow are a great addition to this customized letter-
but in other cases, shape, space, light, and the use of a minimal palette ing. The yellow attracts attention to the title of the exhibition but isn’t used for
will be just as effective. Here, the primary colors are black and white, but the longer description where readability is important. Design: Project Projects,
the space and shapes are so engaging that viewers are drawn into the New York City
display. Design: Javin Mo, Hong Kong
 Chapter 4 // Organizing with Color //127

Packaging
Packaging jobs will require a de-
signer to work with a wide range of
materials, and production can be a
real challenge. Fortunately, the ben-
efits of well-designed packaging are
tremendous. Rarely does one com-
municate so immediately with an
audience. Packaging acts like three-
dimensional advertising. In many
cases, how effectively a product is
packaged can have a direct impact SIncorporating the color and texture of the package
on the sales of that product. material into the design solution is a great way to save
money and materials. The addition of a colorful label can
be a good way to combine a two-color job with full-color
printing. Design: Hatch Design, San Francisco

SWhen creating a system for an entire line of products, it will often be neces-
sary to use a variety of materials and even some variation of style. In this case,
colored labels are the dominant element for some products but not for others.
This variation is appropriate because of how many different items are produced
by the client. Design: Metalli Lindberg, Treviso, Italy
X128 // Design Elements // Color Fundamentals

Choosing the Right Colors

Asking some simple questions can If the client has specified materials, should stand out from the others.
help to reveal how color can aid in the designer should investigate how How these questions are answered
packaging solutions. For instance, color works on each substrate. can directly affect a designer’s color
should color be used as a dominant choices and can reveal whether it is
Identifying whether the particular
element or merely as an accent? appropriate to choose a color that is
item is part of a larger series of
Does the product’s package need to part of a spectrum that has previ-
similar products is also important.
be visible, as is often the case with ously been used by the company or
If many items will be seen or sold
food and electronics, or does the whether it is appropriate to define a
together, find out if each product
packaging create a “second skin?” color palette from scratch.

SPackaging design often benefits from limited color palettes. SEach item in this series of products has been given its own
These hair care products are designed with only two colors, but the color, but the use of similar pattern, placement, tints, and shades
difference in the shape and size of the containers sets each product clearly identifies these sweets as belonging to a larger group.
apart. Design: Culture Advertising Design, St. Petersburg, Florida Design: Maris Maris, New York City
 Chapter 4 // Organizing with Color //129

Matching Interior
with Exterior
Exterior or secondary packaging
needs to be complemented by inte-
rior packaging that looks good while
the project is in use. For example,
face cream usually comes in both
primary and secondary packaging.
The secondary packaging may en-
tice a consumer to buy the product,
but if the container that houses the
cream is unattractive, it is unlikely
that the consumer will purchase the
product a second time.

SThe exterior packaging of this wine gives visual hints to what’s

inside; similarly, the labeling on the bottles references the wine that
they contain. Design: Timo Turner – Schmidt Thurner Von Keisenberg
(STVK), Munich, Germany
X130 // Design Elements // Color Fundamentals

Infographics YOUR CIRCULATORY SYSTEM

Concepts that rely on data and When working on information graph-

multifaceted ideas often benefit from ics, it is important to strike a balance
visual design. Information graphics between using color to attract a BRAIN/HEAD
communicate complex information viewer’s interest and using it to dif-
using text and imagery. Successful ferentiate and clearly communicate
infographics act like a shortcut to the content. In most instances,
convey content and to tell a story. each graphic or diagram will require
LUNGS
They may include diagrams, graphs, its own color palette. Icons and
charts, icons, and even illustrations. simplified illustrations are often used
Color can make infographics in diagrams, maps, and charts.
more engaging, and it is used to Sometimes, these elements will ben-
communicate visual hierarchy in efit from the addition of color, but
instances where there are multiple in other instances, they may rely on
elements within a single composi- shape and color will not be needed. HEART
tion. It is also an excellent tool to
highlight the differences between
components or ideas.
LIVER
XThe use of red on the right side and blue on
the left side of this diagram works with the arrows
to help emphasize the direction that blood moves GUT
in the circulatory system.
Design: Marc Rabinowitz, New York City THE REST
OF YOU
 Chapter 4 // Organizing with Color //131

Tips for Using Color

in Infographics
1. Consider what role color can
play in communicating the
specific information or content.
2. Determine where the finished
graphic will be placed and
whether there will be competing
hues or textures on the page or in
the overall environment.
3. Develop a palette that enhances
the text and/or visuals and helps
to reveal information and/or
shows the differences between
parts or ideas.

WMapmaking is one of the oldest and most common

forms of infographics. In some cases, color will be a domi-
nant aspect of mapmaking, but in this case, color choices
are understated so that streets and landmarks are easier
to pick out. Design: Shual Studio, Ramat-gan, Israel

WWhen giving visual representation to complex data,

color is an excellent tool to help show different types or
amounts of information. The book Mapping Istanbul uses
color as a primary communicative element for diagrams,
maps, pie charts, and other infographics.
Design: Project Projects, New York City
X132 // Design Elements // Color Fundamentals

Layouts
When working with multipage documents, the most important thing a
graphic designer can do is to motivate the viewer to turn the page. By suc-
cessfully using color, designers can help to organize content, add drama,
and create visually interesting layouts. Color may be used to make repeating
elements such as headlines, rules, chapter starts, or page numbers stand
out. It can also help to call out space on a page or highlight a specific sec-
tion within a multipage document.

SIn this layout, color is used to show different

types of information and to help make the text
columns more readable.
Design: Subcommunication, Montreal

SThe cover of this report uses imagery as

the primary visual element, so color is used
sparingly—interior pages that include figures and
body text use color as a more dominant element.
Design: Hatch Design, San Francisco
 Chapter 4 // Organizing with Color //133

Imagery in Layout
Using full-color imagery on a page is one way to catch and
hold a viewer’s attention. In some cases, imagery may provide
all the color needed in a multipage document, but applying
color to graphic elements such as rules, lines, and shapes will
often produce even more exciting compositions. By repeating
these elements at various points in a sequential document,
the designer can give pages structure and allow content to
be more easily absorbed by the reader.

WThe imagery in this website provides more than enough

color to catch a viewer’s attention and sustain interest.
Design: Project Projects, New York City

TUsing overlapping shapes of bright orange and yellow

creates a dynamic composition that works well for the start of a
new section. Design: THERE, Surry Hill, Australia

TXColor is used to highlight and distinguish sections of

text in this book. Something as simple as adding color to a
rule or the outline of a box can make text stand out on a page.
Design: Finn Nygaard, Fredensborg, Denmark
X134 // Design Elements // Color Fundamentals

Background
and Colored Type
Adding a background color to a a high degree of contrast between t
page or coloring the type is an easy the type and the background color.
Here, yellow text has been placed
way to make a layout stand out. Colored or gray text is most effective
on a white background. In this case,
However, designers using these when it is used for sidebars, call-
there is simply not enough contrast
variables run the risk of making con- outs, or headings, as display text,
for a viewer to read the text.
tent difficult to understand and hard or for posters, signage, and other
to read. Black text on a white back- larger-scale projects. A combination
ground is the most legible because of colored elements that support Here, yellow text has been placed
it has the most contrast. In specific but don’t overwhelm the body copy on a white background. In this case,
cases, it may be appropriate to add can help a viewer to notice different there is simply not enough contrast
a background color to a section of types of content. for a viewer to read the text.
text, but it is still important to have

SThis series uses color and imagery to make a distinction

between different books. The title and other text are either black
or white, which gives consistency to the series regardless of the
color behind the text. Design: Shual Studio, Ramat-gan, Israel
 Chapter 4 // Organizing with Color //135

WThis set of collateral material includes a lot of

full-color imagery and textured components, but
the black body text is elegant and simple.
Design: Garth Walker, Durban, South Africa

SIf the viewer can pick and choose what part of text
interests him and he doesn’t need to read everything,
using color for some of the body text can be a good
technique to add interest to a layout.
Design: Seitaro Yamazaki (Macla, Inc.), Tokyo

WThe color yellow provides consistency to this

report, even though it is used as a flat color on some
pages and as an overlay or accent on others.
Design: Sali Sasaki, New York City

Posters, billboards, and invitations

are examples of design projects in
which colored backgrounds can be
appropriate and may even contrib-
ute to exciting and engaging visual
communication.
X136 // Design Elements // Color Fundamentals

Color in Motion and Media

Design for on-screen viewing is increasingly in demand. Working on-screen
provides relief from traditional production concerns, but it also comes with
its own set of challenges. Monitors and mobile devices may display colors
differently. Increased user control has varying effects on how the color is
actually seen by the user. For instance, if the brightness is turned down on a
computer monitor, everything will appear dull.
When working with screen-based media, it is often necessary to design
for the average viewer with the understanding that others may have slightly
different experiences. Large corporations often require separate sites for
different viewing devices. It is important to find out what percentage of
TBright, vibrant colors and clean lines
a given audience is likely to be viewing a web page or other content on form the basis for this opener for the BET-TV
a handheld device rather than a regular monitor or TV screen. Find out network. Eye-catching design is particularly
whether a viewer’s device will affect how color is seen or perceived at important in the busy visual environment that
includes programming content and advertising.
the beginning of a project and create a color palette that is designed to
Design: Interspectacular, New York City
complement these conditions.
 Chapter 4 // Organizing with Color //137

SLuscious photos of exotic landscapes provide the visual representation for

Hillside Beach Club. The color used in the different menus and for the naviga-
tion picks up on the hues used in the logo and imagery.
Design: 2FRESH, London, Istanbul, Paris
X138 // Design Elements // Color Fundamentals

Since a viewer has little or no tactile

experience with on-screen design,
color can create a sense of structure
and a virtual depth of field. It is often
combined with texture and imagery
to further enhance what can oth-
erwise be flat and somewhat static
space. If it is used effectively, color
will communicate content and ideas
quickly without taxing a viewer’s
attention span.

SColor, imagery, and text all appear somewhat different on

the Web. It is always important to test a website and find out
how viewers perceive color before going live.
Design: THERE, Surry Hill, Australia

SThis unique gridded navigation is a simple white overlay on a full-color

image. When the goal is to show the product (in this case, buildings) using a
neutral color palette for the text and background is an effective way to com-
municate online. Design: Project Projects, New York City
 Chapter 4 // Organizing with Color //139

On the Web, color is often used to SGray, white, and light blue make up the
both an on-screen and a print pres-
primary color palette for this website. Hierarchy is
make a company or service seem ence, the colors used in all iterations conveyed with placement and by using existing
distinct and to make a site stand of the design outputs should be conventions of left-side navigation rather than
out. Color can also support naviga- consistent and recognizable. Hues with color. Design: The O Group, New York City
tion structures and help make view- or values of a color can be used to
ing faster and easier. When creating differentiate pages or sections within
screen-based output, always test a larger website. In other instances,
the design online or on the device consistency will be more important
where users will view content. Use and a site may require a very limited
a color palette that is the same number of colors and/or the use of
or complements a client’s overall only one color.
branding strategy. If a client has
X140 // Design Elements // Color Fundamentals

Color in Motion Graphics

Motion graphics use movement, predictability and can help keep an depth and three-dimensional space
implied space, color, and other audience interested while specific on screen. Combining colors and
visual elements to attract attention tones may reference content or overlays in specific areas can give
and communicate a message. Time imply mood/atmosphere. a design the appearance of virtual
and movement allow the designer to space and depth. This technique is
Designers working in motion may
create dynamic visual expressions. especially effective to use with vec-
use type, vector imagery, or live-
Since many motion pieces last tor graphics and text but can also
action footage to communicate a cli-
seconds rather than minutes, the be applied to live-action footage in
ent’s message. When working with
designer has to quickly catch and specific instances.
stills or live-action footage, color can
hold a viewer’s attention. In motion
be used to connect otherwise unre-
graphics, color is used as a visual
lated elements or enhance poor-
shortcut and as a way to tell part
quality footage. When used with
of a story more quickly. Patterns
shape and line, color can suggest
and the repetition of colors provide

SA limited palette of cool green and blue with textural accents is used for this New York Times
Knowledge Network promo. The design is particularly successful because it incorporates elements
with a hand-done and organic look. Design: Interspectacular, New York City
 Chapter 4 // Organizing with Color //141

Goals for Motion

and Media
1. Reduce the time it takes
for viewers to comprehend
information.
2. If there is text, make it readable.
3. Use hierarchy to reveal relative
importance.
4. Create a color palette that is
specific to on-screen viewing.
5. Use hues and tones that
enhance the message.
6. Use repeated elements or colors
to create a unified look and feel.
SMultiple shades of the same blue give this design consistency. It
seems more “hand-done” than computer generated because of the
addition of texture. Design: Liz De Luna, New York City

SBy overlaying and repeating different screens of color, this music video seems polished and excit-
ing. This is a great technique to use on low-budget projects where the video footage doesn’t include
a lot of variation. Design: Oska Ho, New York City
Chapter 5
Rules for Working with Color

Color Quick Start

Ten Rules for Working with Color
Real-Life Exceptions
Strategies for Working with Clients
X144 // Design Elements // Color Fundamentals

SA palette that uses similar values of a single color ties this series of
posters together. Shape and the placement of type further reinforce that
the posters are part of a series. Design: Bob Wilkinson, Abuja, Nigeria
 Chapter 5 // Rules for Working with Color //145

Color Quick Start

Experimentation will always be part of the design process, but many design-
ers find that there are practical and creative benefits to working with struc-
tures and known models. Defining a working process and following some
basic guidelines for when and how to use color in design projects can save
time and make color selection easier.
The following set of rules provides a useful structure to begin selecting the
appropriate hues for a project. The more experienced one becomes, the
easier it will be to successfully choose and use color. Eventually, a designer
should be able to develop a personalized working process that can be used
for any project that requires color choices.
X146 // Design Elements // Color Fundamentals

Ten Rules
for Working with Color
 Chapter 5 // Rules for Working with Color //147

1. Work from goals. 2. Apply color theory 3. Make choices

Ask what the project needs to and review existing for a reason.
convey, including information, knowledge about Identify colors with specific
message, advertisement, color. attributes.
persuasion, and mood.
Decide whether it is appropriate Consider cultural connotations
Consider where the end product for the design to be bright, bold, and regional specifics.
will be seen, in what media or subdued.
and/or context the project will
be produced, and who the Determine the attributes of the
audience is. message and whether there are
colors that are more or less
suited for the content that is
being communicated.

TColor choices should occur for a reason.

Repeating the red and cream colors allows this
composition to be unified, while breaking up
space with black frames references the story.
Design: Rubén Moreno, Caracas, Venezuela
X148 // Design Elements // Color Fundamentals

SColor is an excellent tool to organize and structure content.

This piece uses color to tie the various pieces of collateral together.
Design: THERE, Surry Hill, Australia
 Chapter 5 // Rules for Working with Color //149

4. Choose color 5. Be decisive.

and make it count. Consider adding texture
Pick dominant, subdominant, or image.
and accent colors. Don’t forget about white space.
Explore variations of shades
and tints.
6. Test on content.
Let the content take the lead.
Try replaying one or more colors
with its complement. Make it different.

Consider colors that absorb Make it clear/readable/

understandable.
rather than reflect light.
Use organizing structures.
Limit the number of colors used
in a palette.
Explore neutrals.

SIn packaging, it is often necessary

to let the content take the lead. Here, the
product shows through the packaging
and the designers have picked up the
color of the rice for the cardboard box.
Design: Metalli Lindberg, Treviso, Italy
X150 // Design Elements // Color Fundamentals

7. Assess.
Consider whether the color
choices enhance or detract
from the content, and determine
if it will appeal to the intended
audience.

8. Adjust if needed.
Revision is a vital part of the
design process. Creating
multiple iterations of a project
almost always produces
better results.

SThis kaleidoscope of colors is effective in this design. Design: Fernando

Revollo, Cochabamba, Bolivia
 Chapter 5 // Rules for Working with Color //151

9. Produce using Digital output: Consider

on-screen color appearance,
intended media.
ability of devices to accurately
Print design: Consider paper reproduce colors, and
choices (coated versus variations in users’ devices.
uncoated, etc.), inks, varnishes,
aqueous coatings, and finishing
10. Keep a record
(binding, etc.). of successes and
Environmental design:
failures.
Consider material substrates
This is a great way to keep
and color coverage and
track of what works and what
appearance, wear and tear
doesn’t.
and its effect on the finish,
and project-specific production. Color palettes that don’t
work for one job might be
appropriate for another.

SThis poster uses color to emphasize the mes-

sage and to make the simple shapes stand out.
Viewers know exactly where to look because the
white background allows a few visual elements to
stand out. Design: Arturo Botello Álvarez, Mexico
Real-Life Exceptions
Sometimes, you want to follow the rules,
and sometimes you don’t. Understand-
ing the basics of color theory and know-
ing how certain hues relate to each other
is indispensable, but great design can
be produced with an “anything goes”
attitude as well. There are exceptions to
any set of rules. The “dos and don’ts”
listed earlier are useful as a guide, but
there may be situations where the best
visual solution for a project flies in the
face of everything that a designer has
been taught or done before. Sometimes,
unusual or risky color choices will help
content to stand out or will be appropri-
ate for a specific message or job. Being
bold and taking chances can produce
unusual and exciting design, and if a
designer has the time to do so, testing a
palette that breaks the rules can be well
worth the time.

SThe backgrounds for these designs are colorfully chaotic

and fit well with content about “digital hallucination.” The designer
added white bars below the body text to keep it readable in areas
where a simple overlay would have make the type hard to see.
Design: Martijin Oostra, Amsterdam, Netherlands
Chapter 5 // Rules for Working with Color //153

SUsing layered type and texture inside other letterforms would

be a no-no in most situations, but the size of the individual let-
ters and the dark gray top layer produce a readable and unique
design. Design: Götz Gramlich, Heidelberg, Germany

WThe shapes created by this lively type-based composition

are so interesting that a relatively limited color palette can be
successful. The addition of a slightly textured background gives
the piece the illusion of depth.
Design: Götz Gramlich, Heidelberg, Germany
 X154 // Design Elements // Color Fundamentals

SShowing how color will work in several design deliverables is a good way
to help a client understand why certain color choices are appropriate for a
project. In this case, the use of limited color is an excellent way to make the
shape and type stand out. Design: Subcommunication, Montreal
 Chapter 5 // Rules for Working with Color //155

Strategies for
Working with Clients
Effectively communicating color explain how the colors in question The most important thing to remem-
choices with clients can make the support the message and fit with ber is that almost everyone has an
difference between winning a pitch the overall brand strategy. High- opinion about color. Clients are no
and getting a project approved light the research that led you to different. It is up to the designer
or being sent back to the draw- conclude that these hues are most to use their expertise and to show
ing board. Not all clients are visual suited for the project and compare how color can be tied to content
learners, nor have they been trained them to your client’s competition. to create effective communications
to ignore the subjective nature of Color can have specific connota- strategies.
color the way designers have. tions for a viewer. By knowing what
those might be ahead of time, it
Presenting a clear rationale for why
is possible to exploit associations
a palette or single hue will be suc-
when appropriate or minimize them
cessful usually provides the best
if needed. Be sensitive to cultural TThis high-contrast black-and-yellow color
chance of getting a color palette
considerations and explain what palette is sure to grab viewer’s attention and is a
approved. Rather than simply
these are to the client. good fit for a hard hitting article about the NFL.
presenting the client with a solution, Design: Lily Chow, New York
X156 // Design Elements // Color Fundamentals

Felipe Taborda
Rio de Janeiro, Brazil
64

Contributors: Fernando Revollo

Cochabamba, Bolivia
13, 150

Finn Nygaard
Fredensborg, Denmark; www.FinnNygaard.com
fn@finnnygaard.com
57, 61, 104, 108, 114, 124, 133

Frank Guzman
2FRESH Brono Porto Caracas, Venezuela
London, Istanbul, Paris; www.2fresh.com Shanghai, China; blog.brunoporto.com/ 66
Can Burak Bizer [email protected] [email protected]
Garth Walker
36, 46, 56, 61, 73, 75, 79, 81, 91, 96, 72
Durban, South Africa
106, 115, 117, 137
Bruce Ian Meader www.misterwalkerdesign.com
Adrián Fernández González Rochester, New York [email protected]
Asturias, Spain 15, 17, 18, 19, 20, 21 36, 66, 88, 99, 109, 135
35, 86
Cheah Wei Chun Hatch Design
Alex Girard Clanhouse, Singapore San Francisco; www.hatchsf.com
Santa Barbara, California www.clanhouseonline.com Nate Luetkehans [email protected]
www.ajgportfolio.com [email protected] 65, 71, 80, 95, 101, 125, 126, 127, 132
[email protected] 43
Horacio Guia
18, 53, 62, 119
Culture Advertising Design Caracas, Venezuela
Ames Bros St. Petersburg, Florida; www.culture-ad.com 29
Seattle; amesbros.com Craig Brimm [email protected]
Interspectacular
barry ament [email protected] 60, 81, 91, 128
New York City; interspectacular.com
51, 59, 65, 74, 78, 80, 82
David Criado Luis [email protected]
Answr Inc. La Paz, Bolivia; www.davidcriado.com 105, 136, 137, 140
Tokyo; www.answr.jp [email protected]
Javin Mo
Urara Ito [email protected] 66
Hong Kong; www.milkxhake.org
11, 42, 94
David Frisco [email protected]
Antonio Perez Gonzalez Ñiko New York City; www.davidfrisco.com 86, 126
Xalapa, Mexico; www.soytimido.blogspot.com [email protected]
Jesús Rodríguez
[email protected] 34
Doral, Florida
13
Diego Giovanni Bermúdez Aguirre 115
Arturo Botello Álvarez Valle, Colombia
Johanna Munoz
Mexico; www.botarez.com.mx diegogiovannibermudezaguirre.blogspot.com
New York City; [email protected]
[email protected] [email protected]
[email protected]
151 12
85
Billy Bacon Domingo Villalba and Yessica Silvio
José Manuel Morelos
Rio de Janeiro, Brazil Caracas, Venezuela
Veracruz, Mexico
www.bolddesign.com.br 29, 35
60, 102
[email protected]
Dr. Alderete
73, 114 Juan Carlos Darias Corpas
Mexico City; www.jorgealderete.com
Caracas, Venezuela; www.iddar.com
Bob Wilkinson [email protected]
[email protected]
Abuja, Nigeria 120
35, 67, 118
(All work reproduced with kind permission
Esteban Salgado
of Mott MacDonald and DFID) Juan Madriz
Quito, Ecuador; www.estebansalgado.com
11, 34, 111, 144 Edo Falcón, Venezuela
[email protected]
63, 117
75
 //157

Götz Gramlich Melchior Imboden Shual Studio

Heidelberg, Germany; www.gggrafik.de Buochs, Switzerland; melchiorimboden.ch Ramat-gan, Israel; www.shual.com
gg@gggrafik.de [email protected] Guy Saggee [email protected]
20, 55, 57, 58, 63, 69, 70, 153 33, 51, 55, 92 34, 50, 72, 93, 96, 131, 134

Katsui Design Office Miguel Neiva STUDIOKARGAH

Tokyo; www.katsui.co.jp Porto, Portugal; www.coloradd.net Tehran, Iran; www.studiokargah.com
[email protected] [email protected] Aria Kasaei [email protected]
38, 84, 98, 121 44, 45 35, 52, 70, 90

Keri Dodge Nobuyuki Ozaki Subcommunication

New York Mozu Co., Ltd., Tokyo; www.mozu.co.jp Montreal; www.subcommunication.com
www.keridodge.com [email protected] Sébastien Théraulaz [email protected]
[email protected] 89 26, 30, 57, 68, 92, 107, 132, 154
64
Oska Ho Suunnittelutoimisto BOTH
Lava Graphic Design New York City; www.graficker.com Helsinki, Finland; www.both.fi
Amsterdam, Netherlands grafi[email protected] Timo Berry berry@both.fi
www.lava.nl, [email protected] 141 16, 40, 87, 92
37
Paone Design Associates Susana Machicao
Liz De Luna Philadelphia; www.paonedesign.com La Paz, Bolivia; www.machicaodesign.com
New York City; www.main5design.com Gregory Paone [email protected] [email protected]
[email protected] 32, 51, 58, 62, 90, 95, 99 53
141
Paul Fabozzi THERE
Lily Chow New York City Surry Hill, Australia; www.there.com.au
New York City 24, 25 Paul [email protected]
155 54, 61, 78, 94, 110, 133, 138, 148
Project Projects
LSDspace New York City; www.projectprojects.com The O Group
Madrid, Spain; lsdspace.com Chris Wu [email protected] New York City; www.ogroup.net
[email protected] 63, 72, 94, 120, 121, 126, 131, 133 Karin Satrom [email protected]
27, 54, 67, 108 83, 97, 122, 139
Ricardo Villoria
Manuel González Ruiz, Factoria Gráfica Langreo, Spain; www.ricardovilloria.com Santiago Pol
Caracas, Venezuela; www.factoriagrafica.com.ve [email protected] San Felipe, Venezuela
manuel@factoriagrafica.net 46 117
100
Rubén Moreno Schmidt Thurner Von Keisenberg (STVK)
Marc Rabinowitz Caracas, Venezuela Munich, Germany; www.stvk.de
New York City; www.ijustmight.com 13, 16, 147 Timo Thurner [email protected]
[email protected] 92, 102, 118, 125, 129
Rudi Meyer
58, 100, 130
Yerres, France; www.rudi-meyer.com Willoughby Design Group
Marina Córdova Alvéstegui [email protected] Kansas City, Missouri; willoughbydesign.com
La Paz, Bolivia 57, 59, 84 Nate, [email protected]
116 116
Sali Sasaki
Maris Maris New York City; salisasaki.com Valter Daniel Cacurri Oltra
New York City; marismaris.com [email protected] Caracas, Venezuela; www.tresnodos.com
[email protected] 135 [email protected]
30, 55, 98, 124, 128 120
Sebastian Guerrini
Martijn Oostra La Plata, Argentina; www.guerriniisland.com Ulises Ortiz
Amsterdam, Netherlands; martijnoostra.com [email protected] Mexico City; www.plasck.blogspot.com
[email protected] 40, 41, 71, 102, 105, 106, 107, 119, 122 [email protected]
46, 115, 152 66, 87
Seitaro Yamazaki (Macla, Inc.)
Metalli Lindberg Tokyo; www.macla.co.jp Uwe Loesch
Treviso, Italy; www.metalli-lindberg.com Asuka Kobayashi, [email protected] Mettmann, Germany; www.uweloesch.de
Derek Stewart [email protected] 34, 36, 42, 60, 70, 83, 91, 116, 135 [email protected]
123, 127, 149 22, 31, 33, 52, 53, 54, 59, 97
X158 // Design Elements // Color Fundamentals
 //159

Acknowledgments
This book would not have been possible without the designers whose works
are featured in its pages. I am deeply grateful for their generosity and willing-
ness to participate in the project. Thanks to Juan Carlos Darias who helped
round up and pitch the project to Latin American designers and to Takako
Terunuma from the Tokyo Type Directors Club for helping with connections
in Japan. As always, I am fortunate to work with a great team at Rockport
who make the writing and editorial process enjoyable and rewarding.
This book is dedicated to Howard, who was willing to stay in when work
had to be done and to go exploring when I needed a breath of fresh air. I am
eternally thankful for your patience and support.
X160 // Design Elements // Color Fundamentals

About the Author

Aaris Sherin is an educator, writer, and designer. She is an associate profes-
sor of graphic design at St. John’s University in Queens, New York. Sherin
is a frequent lecturer and speaker at both national and international design
conferences. Sherin is the author of SustainAble: A Handbook of Materials
and Applications for Graphic Designers and Their Clients (Rockport Publish-
ers, 2008), and coauthor of Forms Folds and Sizes: 2nd Edition (Rockport
Publishers, 2009). As guest editor of GroveArt (Oxford University Press),
Sherin supervised the addition of more than thirty entries on female design-
ers as part of the 2006 Women in the Arts update. Her writing has been fea-
tured in publications such as PRINT Magazine, STEP Inside Design, Form,
Leonardo (MIT Press), and Design and Culture. Sherin is founder of Fit to
Thrive (fit-to-thrive.com) a consultancy company that addresses complex
issues including the environment, creative thinking, and innovative problem
solving that can occur across media and disciplines.
© 2012 Rockport Publishers

First published in the United States of America in 2012 by

Rockport Publishers, a member of Quayside Publishing Group

100 Cummings Center

Suite 406-L
Beverly, Massachusetts 01915-6101
Telephone: (978) 282-9590
Fax: (978) 283-2742

www.rockpub.com
www.rockpaperink.com

All rights reserved. No part of this book may be reproduced in any form
without written permission of the copyright owners. All images in this book
have been reproduced with the knowledge and prior consent of the artists
concerned, and no responsibility is accepted by producer, publisher, or printer
for any infringement of copyright or otherwise, arising from the contents of this
publication. Every effort has been made to ensure that credits accurately com-
ply with information supplied. We apologize for any inaccuracies that may have
occurred and will resolve inaccurate or missing information in a subsequent
reprinting of the book.

10 9 8 7 6 5 4 3 2 1

ISBN: 978-1-59253-719-8
Digital edition published in 2012
ISBN: 978-1-61058-1899

Library of Congress Cataloging-in-Publication Data available

Design: Aaris Sherin

Cover Design: Oska Ho

Printed in China