Before and After 0453

Before&After
Continued
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Perfect color 0453
How to fnd the
t
Continued
Getting that just-right
color is part art, part science.
Well show you.
fec per
color
Before&After
2 of 16 Perfect color 0453
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How to fnd the perfect color
Hidden in your photo is the color palette you need. Heres 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 dont 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. Heres how.
Heres the situation: We have
an academic schedule for a
womens 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
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Look close, closer, closest
Every photo has a natural color palette. First step is to fnd it and organize it. Zoom
in on your photo, and youll 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, frst duplicate
the photo layer (so you dont
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 frst 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
colorsher eyes, lips, the highlights in
her hair and soft shadows. You can see in
this image a light side and a shadow side;
its 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. Youll be thrilled
by what you fnd.
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Try each one on
Place the photo on a swatch of each color. The results are pretty, arent they? Whats fun
is that this will always look good, because the colors youre using are already there.
Warm colors
These are the warm colors
pinks, salmons, sepias,
brownsof 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 colors
The cool colorsblues,
mainlymake 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 colors relationship to other colors.
Pick any of the photos colors
lets use this blueand fnd its
general vicinity* on the color
wheel. Well call this the base
color. We already know that the
base color goes with the photo.
Our job now is to fnd colors
that go with the base color.
Keep in mind that if type or
other graphic is involved (pretty
typical), youll need both dark
and light colors for contrast.
*Because the wheel is deliberately
basic, you will rarely make an exact
match. Its 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.
Analogous
One 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.
Monochromatic
First 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 thats so important
to good design.
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Split complement
One step either way are the comple-
ments 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.
Complement
Directly opposite the base color is its
complementin 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 feld, as shown above.
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Analogous/complement
Colors 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 fght
but complement when different (below).
This is why you want to eyedropper dark,
medium and light values of each color.
Complement/analogous
This 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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Mitner
FALL SCHEDULE
SCHOOL OF BUSINESS ADMINISTRATION
All businessBlue is everyones favorite color. Whats
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 its 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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SeriousThis 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 flling the page it acquires real weight.
Serious, warm, draws the reader in.
Mitner
FALL SCHEDULE
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IntenseThe 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 fat, this mix is intense and
engaging (and would win the design contest), but it takes
a daring client to choose it.
Mitner
FALL SCHEDULE
Before&After
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Mitner
FALL SCHEDULE
CasualAnalogous to the bluea step toward greenis
teal, a beautiful color not in the photo. Its difference adds
depth and vibrancy and relaxes the message somewhat; its
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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Mitner
FALL SCHEDULE
PrettyOne 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 fatter 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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Mitner
FALL SCHEDULE
Typefaces
1 (ab) 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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1a
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Mitner
FALL SCHEDULE
Mitner
FALL SCHEDULE
Mitner
FALL SCHEDULE
Mitner
FALL SCHEDULE
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Before&After
16 of 16 | Printing formats
Perfect color 16 of 16
Perfect color 0453
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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 director
Gaye McWade Associate publisher
Vincent Pascual Staff designer
Dexter Mark Abellera Staff designer
Editorial board Gwen Amos, Carl Winther
Before & After magazine
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
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www http://www.bamagazine.com
Copyright 2005 Before & After magazine, ISSN
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& After magazine, and let us know. To feature free
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