Before&After U perfect color · Shadow side Light side Hair Face Pull out the colors Now extract...
Transcript of Before&After U perfect color · Shadow side Light side Hair Face Pull out the colors Now extract...
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Perfect color 0453
How to find the
t Continued
Getting that just-right color is part art, part science. We’ll show you.
fec percolor
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How to find the perfect colorHidden in your photo is the color palette you need. Here’s how to get it out.
No single visual element has more effect on a viewer than color. Color gets attention, sets a mood, sends a message. But what colors are the right ones? The key is that color is relational. Colors don’t exist in a vacuum but are always seen with other colors. Because of this, you can design a color-coordinated document based on the colors in any element on the page. Here’s how.
Here’s the situation: We have an academic schedule for a women’s college to design,
and for a photo we have this no-nonsense, freckle-faced
model. The goal is to look fresh, alive and personal (no
buildings and grounds shots) while conveying the sense
that the program is serious and businesslike. A note
of trendiness will be good. Color is involved in all of it.
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Look close, closer, closestEvery photo has a natural color palette. First step is to find it and organize it. Zoom in on your photo, and you’ll be astonished by how many colors you see.
At normal viewing distance (left) we see a few dozen colors: skin tones, red hair, blue eyes, blue jacket, but zoom closer, and we see mil-lions! First step is to reduce all those colors to a manageable few; you want 16, 32, 64 tops. In Photoshop, first duplicate the photo layer (so you don’t lose the original), then select Filter> Pixelate> Mosaic (right). A large Cell Size gives you very few colors; if you need more, reduce the size.
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Hair
Jacket
Shadow side
Light side
Hair Face
Pull out the colors Now extract colors with the eyedropper tool. Work from the biggest color (the one you see most of) to the smallest. For contrast, pick up dark, medium and light pixels of each.
Work first on the big colors. These are the ones you see at a glance; her skin and hair colors and blue jacket. Then do the small colors—her eyes, lips, the highlights in her hair and soft shadows. You can see in this image a light side and a shadow side; it’s subtle, but pay attention. Finish each area before moving on. Sort your results by color, then each color by value (light to dark). Discard lookalikes. You’ll be thrilled by what you find.
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Try each one on Place the photo on a swatch of each color. The results are pretty, aren’t they? What’s fun is that this will always look good, because the colors you’re using are already there.
Warm colorsThese are the warm colors—pinks, salmons, sepias, browns—of the red-haired model. The warmer colors make her look softer and more feminine. These colors would be good for a cos-metic message or a caring message.
Cool colorsThe cool colors—blues, mainly—make for a more serious, businesslike rela-tionship and convey a direct, to-the-point message. Note that as the values get darker, her face gets perceptually brighter and appears to rise off the page toward you.
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Add to the colors The next step is to add more colors. Select any of the colors, and locate it on the color wheel. The purpose of a color wheel is to show you a color’s relationship to other colors.
Pick any of the photo’s colors—let’s use this blue—and find its general vicinity* on the color wheel. We’ll call this the base color. We already know that the base color goes with the photo. Our job now is to find colors that go with the base color. Keep in mind that if type or other graphics are involved (pretty typical), you’ll need both dark and light colors for contrast.
*Because the wheel is deliberately basic, you will rarely make an exact match. It’s only a guide.
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Create color palettes From your base color, you can now create an exciting range of coordinated color palettes. Values can mix. For example, medium blue works with light teal and dark violet.
AnalogousOne color step either side of the base color are its analogous colors. Analogous colors share undertones (here, blue-green, blue, and blue-violet), which create beautiful, low-contrast harmony. Analogous palettes are rich and always easy to work with.
MonochromaticFirst are the dark, medium and light values of the base color. This is a mono-chromatic palette. It has no color depth, but it provides the contrast of dark, medium and light that’s so important to good design.
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Split complementOne step either way are the comple-ment’s own analogous colors. This palette is called a split complement. Its strength is in the low-contrast beauty of analogous colors, plus the added punctuation of an opposite color. In this case, the blue would most likely be used as the accent.
ComplementDirectly opposite the base color is its complement—in this case, the orange range. What the complement brings is contrast. A color and its complement convey energy, vigor and excitement. Typically, the complement is used in a smaller amount as an accent; a spot of orange on a blue field, as shown above.
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Analogous/complementColors analogous to our base color make cool harmony punctuated by a hot spot of complementary color. Keep in mind that opposites of the same value tend to fight but complement when different (below). This is why you want to eyedropper dark, medium and light values of each color.
Complement/analogousThis mixed palette is the same as the split complement but with more color. Its added range yields soft, rich har-mony on the warm side and sharp, icy contrast on the cold side, an intense and exciting combination.
Opposite colors, same value
Opposite colors, different values
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Mitnerfall scheduleschool of business adMinistration
All business—Blue is every one’s favorite color. What’s interesting here is that blue and orange are native to the photo, giving it excellent natural contrast. The blue background swallows her jacket, allowing her intense gaze to lift right off the page. Handsome and businesslike.
Edit and apply Design the page, and now it’s time to make color choices. How to pick? The key is to think message. Weigh each against the original purpose by asking, which colors meet the goal?*
*Review the design goal on page 2
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Serious—This palette began in the deep red of her hair, and for an accent took two steps toward yellow. Her eyes and jacket, which on blue receded into the background, now stand in contrast. Note that the red in her hair is a mere highlight, but filling the page it acquires real weight. Serious, warm, draws the reader in.Mitner
fall scheduleschool of business adMinistration
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Intense—The highlights in her hair carry this page; the blue accent lends contrast and depth. An unexpected point of interest is the yellow headline, which seems cut out of the photo. Dimensionally flat, this mix is intense and engaging (and would win the design contest), but it takes a daring client to choose it.Mitner
fall scheduleschool of business adMinistration
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Mitnerfall scheduleschool of business adMinistration
Casual—Analogous to the blue—a step toward green—is teal, a beautiful color not in the photo. Its difference adds depth and vibrancy and relaxes the message somewhat; it’s trendier now, more approachable. Her eyes, which against blue looked blue, now look green. Type color, still light orange, is a soft contrast.
Reminder: Values mix. You can always use dark, medium and light of any color. Note here both medium and light teal.
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Mitnerfall scheduleschool of business adMinistration
Pretty—One step the other way is blue-violet, another color not in the photo. Blue-violet is a shift toward red; the result is a slightly flatter image, because face, hair and back-ground are now more alike. Blue-violet is a cool color nor-mally associated with softness, femininity, and springtime (with undertones of freshness).
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MitnerFALL SCHEDULESCHOOL OF BUSINESS ADMINISTRATION
Typefaces
1 (a–b) Trajan Bold | a) 36 pt, b) 8 pt
2 Trajan Regular | 18 pt
Images
3 Rubberball.com
Article resources
Colors
C0 M40 Y60 K0
C100 M60 Y0 K45
C0 M40 Y100 K0
C0 M90 Y80 K45
C0 M25 Y60 K0
C60 M0 Y20 K15
C30 M0 Y12 K0
C100 M90 Y0 K25
C60 M50 Y0 K15
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5
6
7
8
9
3
4
5
1a
10
11
MitnerFALL SCHEDULESCHOOL OF BUSINESS ADMINISTRATION
MitnerFALL SCHEDULESCHOOL OF BUSINESS ADMINISTRATION
MitnerFALL SCHEDULESCHOOL OF BUSINESS ADMINISTRATION
MitnerFALL SCHEDULESCHOOL OF BUSINESS ADMINISTRATION
21b
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Before&After
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Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understand-able, useful and even fun for everyone.
John McWade Publisher and creative directorGaye McWade Associate publisher Vincent Pascual Senior designerDexter Mark Abellera Senior designer
Editorial board Gwen Amos, Carl Winther Before & After magazine323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995E-mail [email protected] www http://www.bamagazine.com
Copyright ©2005 Before & After magazine ISSN 1049-0035. All rights reserved
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r
No
single visu
al elemen
t has
mo
re effect on
a viewer th
an
colo
r. Co
lor gets atten
tion
, sets a m
oo
d, sen
ds a m
essage. B
ut w
hat co
lors are th
e right
on
es? Th
e key is that color is
relational. C
olo
rs do
n’t exist in
a vacuu
m b
ut are alw
ays seen
with
oth
er colo
rs. Becau
se of
this, yo
u can
design
a colo
r-co
ord
inated
do
cum
ent b
ased
on
the co
lors in
any elem
ent
on
the p
age. Here’s h
ow.
He
re’s th
e situ
atio
n: W
e h
ave
a
n a
cad
em
ic sche
du
le fo
r a w
om
en
’s colle
ge
to d
esig
n,
an
d fo
r a p
ho
to w
e h
ave
this
no
-no
nse
nse, fre
ckle
-face
d
mo
de
l. The
go
al is to
loo
k
fresh
, alive
an
d p
erso
na
l (no
b
uild
ing
s an
d g
rou
nd
s sho
ts) w
hile
con
veyin
g th
e se
nse
th
at th
e p
rog
ram
is serio
us
an
d b
usin
esslik
e. A n
ote
o
f tren
din
ess w
ill be
go
od
. C
olo
r is invo
lved
in a
ll of it.
How to find thet
Gettin
g that ju
st-right
color is part art, p
art science.
We’ll sh
ow you
.
fec percolor
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r
Loo
k clo
se, close
r, close
stE
very ph
oto
has a n
atural co
lor p
alette. First step
is to fi
nd
it and
organ
ize it. Zo
om
in
on
you
r ph
oto, an
d yo
u’ll b
e aston
ished
by h
ow m
any co
lors yo
u see.
At n
orm
al vie
win
g d
istan
ce
(left) w
e se
e a
few
do
zen
co
lors: sk
in to
ne
s, red
ha
ir, b
lue
eye
s, blu
e ja
cke
t, bu
t zo
om
close
r, an
d w
e se
e m
il-lio
ns! F
irst step
is to re
du
ce a
ll th
ose
colo
rs to a
ma
na
ge
ab
le
few
; you
wa
nt 16, 32, 64 to
ps.
In P
ho
tosh
op
, first d
up
licate
th
e p
ho
to la
yer (so
you
do
n’t
lose
the
orig
ina
l), the
n se
lect
Filte
r>P
ixe
late
> Mo
saic (rig
ht).
A la
rge
Ce
ll Size
give
s you
very
few
colo
rs; if you
ne
ed
mo
re, re
du
ce th
e size.
Hair
Jacket
Sh
ad
ow
side
Ligh
t side
Hair
Face
Pu
ll ou
t the
colo
rs N
ow extract co
lors w
ith th
e eyedro
pp
er too
l. Wo
rk from
the b
iggest colo
r (the o
ne yo
u see
mo
st of) to
the sm
allest. For co
ntrast, p
ick up
dark, m
ediu
m an
d ligh
t pixels o
f each.
Wo
rk fi
rst on
the
big
colo
rs. The
se a
re th
e
on
es yo
u se
e a
t a g
lan
ce; h
er sk
in a
nd
ha
ir co
lors a
nd
blu
e ja
cke
t. The
n d
o th
e sm
all
colo
rs—h
er e
yes, lip
s, the
hig
hlig
hts in
h
er h
air a
nd
soft sh
ad
ow
s. Yo
u ca
n se
e in
th
is ima
ge
a lig
ht sid
e a
nd
a sh
ad
ow
side
; it’s su
btle, b
ut p
ay a
tten
tion
. Finish
ea
ch
are
a b
efo
re m
ovin
g o
n. S
ort yo
ur re
sults
by co
lor, th
en
ea
ch co
lor b
y valu
e (lig
ht to
d
ark
). Disca
rd lo
ok
alik
es. Y
ou
’ll be
thrille
d
by w
ha
t you
fin
d.
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Try each
on
e o
n
Place th
e ph
oto
on
a swatch
of each
colo
r. Th
e results are p
retty, aren’t they? W
hat’s fu
n
is that th
is will alw
ays loo
k goo
d, b
ecause th
e colo
rs you
’re usin
g are already th
ere.
Wa
rm co
lors
These are the warm
colors—pinks, salm
ons, sepias, brow
ns—of the red-haired
model. The w
armer colors
make her look softer and
more fem
inine. These colors w
ould be good for a cos-m
etic message or a caring
message.
Co
ol co
lors
The cool colors—blues,
mainly—
make for a m
ore serious, businesslike rela-tionship and convey a direct, to-the-point m
essage. Note
that as the values get darker, her face gets perceptually brighter and appears to rise off the page tow
ard you.
Ad
d to
the
colo
rs T
he n
ext step is to
add
mo
re colo
rs. Select any o
f the co
lors, an
d lo
cate it on
the co
lor w
heel.
Th
e pu
rpo
se of a co
lor w
heel is to
show
you
a colo
r’s relation
ship
to o
ther co
lors.
Pick
an
y of th
e p
ho
to’s co
lors—
let’s u
se th
is blu
e—
an
d fi
nd
its g
en
era
l vicinity* o
n th
e co
lor
wh
ee
l. We
’ll call th
is the
ba
se
colo
r. We
alre
ad
y kn
ow
tha
t the
b
ase
colo
r go
es w
ith th
e p
ho
to. O
ur jo
b n
ow
is to fi
nd
colo
rs th
at g
o w
ith th
e b
ase
colo
r. K
ee
p in
min
d th
at if typ
e o
r o
the
r gra
ph
ic is invo
lved
(pre
tty typ
ical), yo
u’ll n
ee
d b
oth
da
rk
an
d lig
ht co
lors fo
r con
trast.
*Because the w
heel is deliberately basic, you w
ill rarely make an exact
match. It’s only a guide.
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r
Cre
ate co
lor p
alette
s Fro
m yo
ur b
ase colo
r, you
can n
ow create an
exciting ran
ge of co
ord
inated
colo
r palettes.
Valu
es can m
ix. For exam
ple, m
ediu
m b
lue w
orks w
ith ligh
t teal and
dark vio
let.
An
alo
go
us
One color step either side of the base
color are its analogous colors. Analogous
colors share undertones (here, blue-green, blue, and blue-violet), w
hich create beautiful, low
-contrast harmony.
Analogous palettes are rich and alw
ays easy to w
ork with.
Mo
no
chro
ma
ticFirst are the dark, m
edium and light
values of the base color. This is a m
onochromatic palette. It has no color
depth, but it provides the contrast of dark, m
edium and light that’s so
important to good design.
Sp
lit com
ple
me
nt
One step either w
ay are the comple-
ment’s ow
n analogous colors. This palette is called a split com
plement. Its
strength is in the low-contrast beauty
of analogous colors, plus the added punctuation of an opposite color. In this case, the blue w
ould most likely
be used as the accent.
Co
mp
lem
en
tD
irectly opposite the base color is its com
plement—
in this case, the orange range. W
hat the complem
ent brings is contrast. A
color and its complem
ent convey energy, vigor and excitem
ent. Typically, the com
plement is used in a
smaller am
ount as an accent; a spot of orange on a blue field, as show
n above.
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r
An
alo
go
us/co
mp
lem
en
tC
olors analogous to our base color make
cool harmony punctuated by a hot spot of
complem
entary color. Keep in mind that
opposites of the same value tend to fight
but complem
ent when different (below
). This is w
hy you want to eyedropper dark,
medium
and light values of each color.
Co
mp
lem
en
t/an
alo
go
us
This mixed palette is the sam
e as the split com
plement but w
ith more color.
Its added range yields soft, rich har-m
ony on the warm
side and sharp, icy contrast on the cold side, an intense and exciting com
bination.
Op
po
site co
lors,
sam
e va
lue
Op
po
site co
lors,
diffe
ren
t valu
es
Mit
ner
fall sc
hed
ule
sch
oo
l of b
usin
ess ad
Min
istr
atio
n
All b
usin
ess—
Blue is every one’s favorite color. W
hat’s interesting here is that blue and orange are native to the photo, giving it excellent natural contrast. The blue background sw
allows her jacket, allow
ing her intense gaze to lift right off the page. H
andsome and businesslike.
Ed
it and
app
ly D
esign th
e page, an
d n
ow it’s tim
e to m
ake colo
r cho
ices. How
to p
ick? Th
e key is to th
ink
message. W
eigh each
against th
e origin
al pu
rpo
se by askin
g, wh
ich colors m
eet the goal?*
*Review
the design goal on page 1
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Se
riou
s—This palette began in the deep red of her hair,
and for an accent took two steps tow
ard yellow. H
er eyes and jacket, w
hich on blue receded into the background, now
stand in contrast. Note that the red in her hair is a
mere highlight, but filling the page it acquires real w
eight. Serious, w
arm, draw
s the reader in.
Mit
ner
fall sc
hed
ule
sch
oo
l of b
usin
ess ad
Min
istr
atio
n
Inte
nse
—The highlights in her hair carry this page; the
blue accent lends contrast and depth. An unexpected
point of interest is the yellow headline, w
hich seems cut
out of the photo. Dim
ensionally flat, this mix is intense and
engaging (and would w
in the design contest), but it takes a daring client to choose it.
Mit
ner
fall sc
hed
ule
sch
oo
l of b
usin
ess ad
Min
istr
atio
n
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r
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ner
fall sc
hed
ule
sch
oo
l of b
usin
ess ad
Min
istr
atio
n
Ca
sua
l—A
nalogous to the blue—a step tow
ard green—is
teal, a beautiful color not in the photo. Its difference adds depth and vibrancy and relaxes the m
essage somew
hat; it’s trendier now
, more approachable. H
er eyes, which against
blue looked blue, now look green. Type color, still light
orange, is a soft contrast.
Re
min
de
r: Va
lue
s mix
. Yo
u ca
n
alw
ays u
se d
ark
, me
diu
m a
nd
lig
ht o
f an
y colo
r. No
te h
ere
bo
th
me
diu
m a
nd
ligh
t tea
l.
Mit
ner
fall sc
hed
ule
sch
oo
l of b
usin
ess ad
Min
istr
atio
n
Pre
tty—O
ne step the other way is blue-violet, another
color not in the photo. Blue-violet is a shift tow
ard red; the result is a slightly flatter im
age, because face, hair and back-ground are now
more alike. B
lue-violet is a cool color nor-m
ally associated with softness, fem
ininity, and springtime
(with undertones of freshness).
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