Adding Color

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Do curso por California Institute of the Arts

Brand New Brand

231 ratings

California Institute of the Arts

Brand New Brand

231 ratings

Curso 5 de 5 em Specialization Graphic Design

This course is the culmination of the Graphic Design Specialization and gives you an opportunity to tie together your knowledge and skills into a single project: a brand development guide for a company you will invent. This course takes you through the entire design process, from ideation to creation to presentation. Through the guide, you will be creating and giving a visual identity to an imaginary start-up company, and applying that visual identity to a number of forms. You will also develop a logotype and accompanying graphic palette to visually represent your company, as well as apply that design to a number of different applications to see it at work. Note: Only learners who have earned a certificate in the four previous courses in the Specialization are eligible to take the Capstone.

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Palette: Expand Your Brand

In this module you will be extending the palette of your brand identity by creating a suite of elements for your start-up company: color palette, visual mark, secondary typefaces, imagery/forms and a secret ingredient.

Adding Color3:34

Adding a Mark/Icon5:58

Adding a Secondary Typeface2:49

Adding Imagery2:05

Adding a Secret Ingredient2:44

Conheça os instrutores

Michael Worthington
Faculty, Program in Graphic Design
School of Art

In this module we're going to expand your brand.

We're going to add some extra elements to it so

we've got a broader palette to work with.

And it might be that we don't use all of these elements all the time, but

it gives us a little more range and flexibility in the identity.

The first thing that we're going to do is think about adding color.

Most identities have some kind of corporate color or commonly used color.

So it's up to you to try and think of what might work for your company,

and there's various different ways about thinking about what's the right color.

Color can always be fairly subjective, but you can try and

think about reasons for why your company might use a certain color.

And it might be something that just feels very appropriate.

So for instance, with my SCARGO company, I might begin by looking at browns in greens

because they look like nature, but also because they're the color of snails and

of snail shells, but also of the snails when they're cooked.

Another way to think about coming up with color ideas,

is to go back to your research.

You can look at your adjectives about your company, and

you can see if there are any colors that fit those adjectives.

But you could also look at your image research, and

see if there's a way to pull colors out of the images that you've already got.

So for instance here, I'm looking at a dark, muddy green that's coming out of

the snail's shell or the snails themselves when they're cooked, or perhaps a bright

red orange color that looks like the protest posters from 1968 in Paris.

Or I might look at the 2 CV and try and

find a color that's commonly used for that car.

Once you've got some initial ideas for

the kind of colors you think are going to be successful,

you can put them into a digital context, and pull them around on screen.

So you can change the hue, the saturation, the value, and

this will give you a chance to see your logo type, actually in the finished color.

So you'll be able to judge, fairly accurately, whether it's working or not.

When you're looking at color for your logo type,

it's also very useful to look at it in both a positive and a negative way.

In other words, to look at the color when it's the figure,

the color of the logo type, and when it's the ground, the background color as well.

Sometimes this makes judging the colors a little bit easier.

Because when it's aground, quite often the field of the color is larger, so

you see more of the color, so

it becomes a little more apparent when it’s working and when it’s not.

One other thing to think about, is how your color is going to appear.

Is it going to be printed?

Is it a Pantone color?

A spot color?

Or is it CMYK?

Or is it going to be primarily on screen,

in which case you really want it to look good in RGB.

So it's worth taking your colors and seeing the difference between how they

might look on screen and how they might look in print.

And this difference is going to be a little bit less apparent on screen,

because you're not really going through the same process as CMYK, but

you can still see a little difference.

So if we zoom into these three colors for instance,

you'll be able to see hopefully a little bit of difference where quite

often the colors will be a little bit darker than CMYK's,

a little bit brighter and cleaner when they're being produced as RGB colors.

But what you really looking for here is something that is fairly

close in both its RGB and its CMYK or Pantone iterations.

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