![]() ![]() ![]() It can be intimidating, but once you understand how to see it, your work (and your life, damn it!) will be that much richer. I hope you’ve gained some confidence in how to work with color. Well, friends, we have reached the end of our internet time together. The red and yellow are more saturated, but they’re also the colors used the least. Lastly, if we sample a few colors we’ll find that most of them live in the middle area of the saturation spectrum. ![]() That is entirely because of the contrast in value. The foreground is very dark gray, the middle lightens up into a medium gray, and the typography just pops out at you.Įven in black and white, this version is leaps and bounds better than the original. But now there is a wonderful range of values. ![]() What a difference! Before we were looking at an amorphous blob of similar gray tones. Some parts are quiet, some parts are loud. You don’t want the volume of every instrument to be at eleven the whole time. Think of your color scheme like music - I know, I’m changing analogies on you. Resist the urge to give all of your colors lots of saturation. But if too many colors in a design are hyper-saturated, it kind of hurts to look at. Overly saturated color gets your attention, like a moth to a flame. Saturation is another case of a little goes a long way. If we go back to the cooking analogy, you don’t need to use every spice in the rack. Any more than that and you’d better know what you’re doing because it can get real ugly real fast. The right two colors can go a long way.Īs a rule of thumb, try sticking with two or three different colors at most. There’s a reason why black-and-white photos are so universally admired. But unless you’re trying to lead people to your pot o’gold, you probably don’t need to use that many colors. Remember that color wheel? I know, it’s pretty. And since I enjoy numbered lists, let’s go over the top three reasons why your color probably sucks. There are some principles at work here that we can learn from. Same illustration, but this one is much easier on the eyes.īut why is that? Spoiler alert: color decisions. (I do wonder what purple smells like, though.)īetter, right? Go ahead and wipe the tears of relief from your cheeks. In the case of color, we’re using our eyes and not our nose. We all pretty much agree about how something smells, but it’s a slightly different experience for everyone. In the simplest terms, color is a sensation. I’ll also include a free download with a bunch of my favorite color resources. And not only will I explain by example, but I will leave you with some handy tips along the way… So, today we’re going to cover some basics for how to work with color. And it doesn’t matter if it’s for graphic design, illustration, or motion design. But once you understand some fundamental rules, working with color will become something you look forward to. Now, I’m sure of a lot of you reading this struggle with how to use color. Not literally, of course, but it will look bad and the world will judge you accordingly. But use color the wrong way and it will make your eyes bleed. Maybe it’s the high stakes that come with it: Use color the right way and it will make the experience richer and more vibrant. And it can be intimidating to work with.įor whatever reason, thinking about color is my favorite part of the creative process. It is a complex thing when you really think about it. (Okay, maybe you didn’t think black metal.)Ĭolor is this intangible and visual experience that comes with an emotional response. When you think of color, you may think of a blue sky, green grass, and black metal music. Which explains why a lot of us make arbitrary decisions about color. If you took any kind of art class growing up, chances are your instructor mentioned the term “color theory.” And that was probably the last time you gave that term any kind of thought. ![]()
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