Color Design Workbook: A Real World Guide to Using Color in Graphic Design

241 Pages·2008·115.33 MB·English

by  AdamsMorioka

COLOR
DESIGN

WORKBOOK

A Real-World Guide to Using Color in Graphic Design

By Terry Lee Stone
with Sean Adams and Noreen Morioka

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Color Contents Introduction

Design
Workbook

76 82
8. Think About 9, Use Standardized
Composition Color Systems,

150

‘chimera Design
St ilde, Vitoria,
Australia

188

‘Methodologie, Inc.
Seattle, USA
32 34
Chapter 4 1. Convey
‘Ten Rules of Color Information

52

4 Remenber
That Context Is
Everything

126

Chapter 6
Color Talk:
Talking About Color
in Design

95 102
Chapter 5

Some Inspirations
Color Systems

fora Sample of
‘AdamsMorioka's
Palettes

220 PEI)

Steinbranding Glossary
Buenos Aives, Comawon Golor Tereas
Argentina

238 240

Directory of Bibliography About the Authors
Contributors Web Recources
Introduction

We follow this idea: it’s okay to like what you like. This concept of accepting,

regardless of motive, our innate desires and aesthetic preference is most apparent
with color. Color is the subject that causes trouble. A shade of green can cause

a client to run from the room, while others want the same tone on everything.

It is subjective and volatile. Our choices, as designers, are to “lay low” and choose
non-offensive colors or to design with aggressive vibrancy. Color provides strong

visual statements that communicate our clients’ messages.

Each color we use conveys both tone and meaning; which is essential to

affecting audiences’ judgments and reactions. Color is more than just a visual
phenomenon—it is a uniquely emotional language and a symbolic tool for all
designers. It is not simply a decorative afterthought and should be leveraged

to its fullest extent.
A strong color palette in a visual system is one of a designer's most emotionally

resonant tools. The right color creates the right response. In the global
marketplace, we understand color in a cultural context as well. What works in
Japan may possess a negative association in Saudi Arabia. Unlike designers of
fifty years ago, we now face technological challenges with the breadth of usage
opportunities across media—print, environmental, and digital; that shade

of red looked so good on the screen, what happened on the printed poster?

There is more to color than a swatch in a book, or a pull down menu choice.
Color is the element closest to the client and audience's subjective identity.

Like a volatile radioactive element, it is extremely powerful and should be

handled very, very carefully. -sean Adams
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