Lesson Info
15. Considerations for Applying Color
Lessons
Course Introduction
02:54 2What is a Logo?
06:26 3Standard Logo Types
30:16 4Defining the Project
09:25 5Formulating a Creative Brief
03:51 6Logo Design Research
25:25 7Brainstorming: Word Mapping
28:55 8Brainstorming Logo Ideas
16:04Thumbnail Sketches
37:17 10Exploring Type Solutions
17:59 11Manipulating and Customizing Letterforms
21:58 12Drawing and Manipulating Letterforms in Illustrator
22:59 13Logo Execution Styles
09:03 14Logo Explorations in Illustrator
27:31 15Considerations for Applying Color
08:04 16Formatting Concept Work for Presentation
10:22 17Tips for Presenting to the Client
04:36 18Preparation of Final Artwork Files
13:24 19Logo Standards
12:04 20Copyright and Trademark Basics
09:10 21Contract Basics
07:26 22Final Thoughts
02:25Lesson Info
Considerations for Applying Color
You wantto you know you want it it's one of things won't examine when you're going through the research process you know? Is there a color palette it's pretty common, you know, obviously if you go into any like category merchandise like cleaners or tomato sauce or whatever there's no tomato sauce it's always like italian colors you know red, red, red, green, black or red yellow however, so uh you want to be sensitive to that? Um also, um cost factors basically when you you know when you add color you're just multiplying, maybe they're multiplying the cost or you're dictating that it's going any time I ask it printed in on screen it's no biggie, no big deal you can do a thousand colors but it's going to be printed, you know you're gonna multiply the cost by numbers england or you're going once you get to four color, you know that has to be done in four colors and it's going to be done in three colors it's probably going on a four color press because people have like two color presses an...
d four color press is not three color presses so and it's going on four color press it's going to have to pay for court four color press time even if you're not maybe praying for colors so you don't want the color the printer tohave to you know if they're going to do a lot of offset printing just to be able to reproduce so ago have to do like four color so you would be sensitive that and then again if you can you know you can combine colors you can combine spot colors to get a third color um they didn't have a little tricky enough to work that out um cultural interpretations you always want to be sensitive to cultures outside of just western culture in the meetings and associations that we have with colors there's um several good references for this on the website so you can look at any color see what it means in the west sea what means in eastern asian cultures so one of the colors and I was like I don't think it was it might have been this one but you know, like in ours it's like bright and happy and like every other rest of world it's like mourning and sorrow and death and so you know, there's you know there's a lot of cultures within our culture now so it's just something to be sensitive and especially if you're you know, if your client's going to start eyes trying to get into other markets overseas and and exporter things like um and then print applications which I think every already talked about because then you're you're going to affect the more colors more cost um you don't want uh you know just have to be ableto reproduce the logo and the colors that you designed to be a major cost factor um every time the printer has toe you know, do business card or something um one thing uh you need be careful of when you're working with spot colors um use pantone colors you know, that's the printing industry for formulas for it so that it just like, you know, so any printer respect that color? Those colors were custom mix there just you know they're just amounts of pigment it's like the way they make paint um there's four you know there's a formula associated with all the pantone colors and that way the printer that's way that the printer can match colors exactly any printer can match, you know, colors exactly from anything it's already been printed or print another printer because they're using exact same base inks and exact same formula but um you've you've, uh your your clients probably gonna print on off on, um uncoated paper for offset uncoated paper and coated paper and if it's like a two color job rather than they're, you know they're going to print their logo into color for their stationery system and so forth on uncoated and like, if they're doing brochures, a catalogs or whatever they're gonna have to try and reproduce that logo out of four color process different percentages of ah process colors or they have toe you know we'll have to add a spot color for that and make it a make five color job. The thing is is that, um and you have to reference and there's nothing when you're picking color, you have to reference the color guides what you see on screen is just is just trying to trying its best to simulate a printed color but it's totally different color, you know, that's just projected light, whereas when something's looking something printed it's actually how the pigments reflect reflective light um, so you cannot engage, you know, you cannot get in this is, like, a really pure like yellow I mean, really pure colors they're not huge different found screen, but uh, you cannot pick colors based on what you see on screen, and the thing is like when you pick your colors and then apply with pantone ships from your palate illustrated, they won't look like those colors, you know, they won't look like the pantone colors because they're gonna just trying to simulate, but they're actually mixing and matching colors that that's the color it's going to be, but what happens is with a lot of colors is that and these air? Actually I just used to a three in his example, um and they'll actually represent its because they actually don't even look the same they have configured so they don't look the same on screen either but you can see the difference like the on uncoated paper the color's much more you know it was much more purple it's just the difference between ana coated paper there's a barrier where the ink just sits up on a smooth surface and reflects more light so you get you get a different you get different color based on the pigments whereas when it's soaking in its not getting as much light and there's a there's a shift so on the last couple jobs I've done where I've had to spec color um I actually had to go back and change the original colors that I, uh that I selected because I could not get I could not even get close enough if even trying to pick a different color number between coded and uncoated that matched closer I couldn't even get like a close enough match there and then you also have to factor in you look at the guy to see what you know what it's going to look how close is going to be in process um you have to take those things and against into consideration because otherwise your client's gonna have three different pieces you know, four color something on code encoded and colors not gonna match and they're gonna wonder why the other thing that's uh you need to do which is kind of pain is you try need to try and match you know, whatever you gonna print from laser printer or inkjet printer ink jet printers after a little more accurate for trying to simulate four color process um but those, um the colors that you print to show your client, those need to match those pantone ships as close as you can possibly get it because the color that you show them is is a calling that they're expecting to get so, you know, like said and just like you don't when you put it, it is the number in and doesn't look the same on screen same thing happens when you present special color laser printers because they tend to over saturate um, that you've actually got to either use another color. You don't think that the match or actually manipulate make it up, make it, you know, make it change the process values and tweak it until you get it too much last thing other applications, the process and I really needed this. So like a few clients, if their most important application is, you know, like they're uniform like a, uh embroidered batch for their uniforms or whatever, well, you know, you basically have thread, you know, like, I don't know, maybe a hundred threat colors to choose from. Not sure, so you don't want to pick something that then, you know, this can't possibly be matched for embroidery or something like that. So so, whether, you know, be careful. If one of those applications has color limitations, then you need toe. Give your color choices toward that.
Class Materials
Bonus Materials with Purchase
Bonus Materials with Purchase
Ratings and Reviews
a Creativelive Student
It's an excellent beginning class, as is stated by the instructor during his introduction. This class has several facets, and only someone with zero knowledge would need them all. There were some really wonderful information shared on how to ferret the needed information on the clint and competition. If you are looking to better serve a client this is a great class. For those looking for an advanced class this would not be a good fit, as this is only a beginner class.
Rajat Shanbhag
It is an excellent class that has all the foundations laid out precisely and concisely. I really appreciate Tim putting in all the effort and simplifying the process for beginners and pro's alike.