before&after u perfect color - creativepro

Before&After ®

Continued

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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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Before&After ®

2 of 16 Perfect color 0453

XiBAmagazine.com U

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.






Before&After ® Perfect color 3 of 16


XiBAmagazine.com U

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.








XiBAmagazine.com U

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.








XiBAmagazine.com U

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.








XiBAmagazine.com U

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 graphic is 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.








XiBAmagazine.com U

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.








XiBAmagazine.com U

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.








XiBAmagazine.com U

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








XiBAmagazine.com UPerfect color 10 of 16

MitnerFALL SCHEDULESCHOOL OF BUSINESS ADMINISTRATION

All business—Blue is everyone’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









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









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






Before&After ®




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.










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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Before&After

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® Perfect color 16 of 16

Perfect color 0453


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 publisherVincent Pascual Staff designerDexter Mark Abellera Staff 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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Be

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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

wo

me

n’s co

lleg

e to

de

sign

, a

nd

for a

ph

oto

we

ha

ve th

is n

o-n

on

sen

se, freck

le-fa

ced

m

od

el. Th

e g

oa

l is to lo

ok

fre

sh, a

live a

nd

pe

rson

al (n

o

bu

ildin

gs a

nd

gro

un

ds sh

ots)

wh

ile co

nve

ying

the

sen

se

tha

t the

pro

gra

m is se

riou

s a

nd

bu

sine

sslike. A

no

te

of tre

nd

ine

ss will b

e g

oo

d.

Co

lor is in

volve

d in

all o

f 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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d p

erfe

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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

. Fin

ish e

ach

a

rea

be

fore

mo

ving

on

. So

rt you

r resu

lts b

y colo

r, the

n e

ach

colo

r by va

lue

(ligh

t to

da

rk). D

iscard

loo

ka

like

s. Yo

u’ll b

e th

rilled

b

y wh

at yo

u fi

nd

.

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r

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 everyone’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 2

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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

Be

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fter | w

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erfe

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r

Mit

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).

Be

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fter | w

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Type

face

s

1 (a–b

) Trajan Bold | a) 36 pt, b) 8 pt

2 Trajan Regular | 18 pt

Ima

ge

s

3 Rubberball.com

Article

reso

urce

s

Co

lors

C0

M40

Y60

K0

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