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Before&After ® XiBAmagazine.com U
Continued How to cool a hot photo 0472
Continued
How to cool a hot photo
When your photo can’t be changed, surround it with cool color.
2 of 12
Before&After ® XiBAmagazine.com U
How to cool a hot photo 0472
How to cool a hot photoWhen your photo can’t be changed, surround it with cool color
The color wheel is an artificial device that’s good but not perfect—colors in nature aren’t so evenly distributed—whose purpose is to show color relationships. Also on the wheel are values (dark-light) and temperature.
Whew! You can almost feel the heat. Reds, oranges, yellows and golds radiate from every molecule; even the water is hot. San Diego, that famously balmy city, never looked like this in real life. But our assignment is to create a brochure cover for an upcoming conference (or for any event in which the city itself is part of the attraction), and this hot, monotone skyline is the photo they want. So the challenge is, how do we cool it off, so visitors won’t come expecting to swelter? The answer is found on the color wheel between ice blue and yellow, in the turquoise blues and verdant greens of springtime. Watch.
HotCold
Cool Warm
Before&After ® XiBAmagazine.com UHow to cool a hot photo 3 of 12
3 of 12 How to cool a hot photo 0472
First step: Find the color palette in your photo Every photo has a natural color palette; first step is to find it and organize it. Zoom in on your photo, and you’ll be astonished by how many colors you see.
First, reduce the photo to a manageable number of colors; the easiest way is to create a mosaic using Photoshop’s Mosaic filter (Filter>Pixelate>Mosaic). Working from the big-gest areas (sky, skyline, water) to the smallest, extract colors with the eyedropper tool. For contrast, pick up dark, medium and light pixels of each color. Then—this is important—sort your selections by color and each color by value (dark to light). This lets you see every color in relation to the others. It’s obvious just by looking that this palette is very narrow.
Skyline dark
Skyline light
Water
Sky
Before&After ® XiBAmagazine.com UHow to cool a hot photo 4 of 12
4 of 12 How to cool a hot photo 0472
Locate your colors on the wheelTo find compatible colors, we first need to know the relationship of our colors to others on the wheel. Working by eye (the wheel’s not exact, remember), locate your swatches by hue (color) and value.
All the colors in this image are in the yellow-orange, orange-red range, quite unusual. The sky is somewhat yellower, some shades are darker than our chart, but this is the zone.
Shade
Hue
Tint
Before&After ® XiBAmagazine.com UHow to cool a hot photo 5 of 12
5 of 12 How to cool a hot photo 0472
A color in commonAdding yellow to blue yields the cool range; these are the colors of water, new growth, springtime. They are peaceful colors, tranquil and refreshing. As with a monochromatic palette, all hues that share a color—blue, in this case—coordinate naturally. Any color in this range will work with any other.
Tints and shadesColor is made darker or lighter by adding black (a shade) or white (a tint). Because they are color neutral, black and white do not change the hue. As a result, any one color plus its own tints and shades always coordinate naturally. Such a palette is called monochromatic. Blue and orange are opposites, or complements, as shown above.
What we know Our photo is full of colors in the orange range, and very warm. Orange’s opposite—or complement—is blue, the coldest color. Let’s start there.
Before&After ® XiBAmagazine.com UHow to cool a hot photo 6 of 12
6 of 12 How to cool a hot photo 0472
Color the brochure It’s time to take that hot photo and submerge it in cool colors. For depth, coolness and beauty, two colors are better than one, and three colors are better than two.
Ice All blue monochromatic palette is very cold and has very high value contrast with yellow-orange. Blue and orange have no color in common and therefore have high color contrast, too. High contrast normally equals high energy, but here the conser-vative dark blue (think winter) mitigates that somewhat.
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
Before&After ® XiBAmagazine.com UHow to cool a hot photo 7 of 12
7 of 12 How to cool a hot photo 0472
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
Cold Moving toward yellow is a cool mix of blues and greens; the greens share warm yellows with the photo, while the blues provide the ice. Blue dominates, keeping the overall effect cold. The colors shown here have similar value and therefore low contrast.
Before&After ® XiBAmagazine.com UHow to cool a hot photo 8 of 12
8 of 12 How to cool a hot photo 0472
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
Cool Closer to yellow, the palette is warmer still. These are the colors of springtime, cool and refreshing—but with sun in the sky! Green dominates. Green has a lot of yellow in common with the photo, yet the aqua blue keeps the effect cool.
Before&After ® XiBAmagazine.com UHow to cool a hot photo 9 of 12
9 of 12 How to cool a hot photo 0472
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
Warm Here, all the colors are yellow-green, a mono-chromatic palette that has the most color in common with the photo and yields the warmest image; it doesn’t really cool the skyline very much.
Before&After ® XiBAmagazine.com U
10 of 12 How to cool a hot photo 0472
How to cool a hot photo 10 of 12
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
Analogous (side by side) tints with very low contrast are soft and touchable. Think baby products.
Photo stands out against light tints, which recede. Yellow “city” color connects head to photo.
Dusty, dark-light monochrome is handsome; identical opposite cor-ners act as a frame.
Low-contrast green-blue and light blue harmonize; light green and white cool the headline.
Tone down the color Less saturated colors (more black or white and less hue) yield quieter, more “professional” palettes. Quantity matters; the more of a color, the greater its influence.
Before&After ® XiBAmagazine.com UHow to cool a hot photo 11 of 12
11 of 12 How to cool a hot photo 0472
How to cool a hot photo 11 of 12
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2 Helvetica Neue 75 Bold | 8/8.5 pt
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Color
14
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Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
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CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
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CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
CITIPLAN2006SANDIEGO
Conference GuideConvention of City PlannersAugust 15–18, 2006 www.cp06.org
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19
Color wheelBefore & After’s color wheel is an abbreviated version of the model in Bride M. Whelan’s book, Color Harmony 2, a digest-size reference
work that also includes a brief intro-duction to color theory and plenty of color examples with CMYK mixes. It’s strength is its brevity. Very handy.
Before&After ®
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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 directorGaye McWade Associate publisherVincent Pascual Staff designerDexter Mark Abellera Staff designer Before & After magazine323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995E-mail [email protected] www http://www.bamagazine.com
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fore
&A
fter | w
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Ho
w to
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l a h
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ho
to 0472
0472 H
ow
to co
ol a
ho
t ph
oto
How to cool
a hot photoW
hen
your p
hoto can’t b
e chan
ged,
surrou
nd
it with
cool color.
The
colo
r wh
ee
l is an artificial device that’s good but not perfect—colors in nature aren’t so evenly distributed—w
hose purpose is to show
color relationships. A
lso on the wheel are
values (dark-light) and tem
perature.
Wh
ew! You
can alm
ost feel the h
eat. Red
s, o
ranges, yellow
s and
gold
s radiate fro
m
every mo
lecule; even
the w
ater is ho
t. San
Diego, th
at famo
usly b
almy city, n
ever loo
ked
like this in
real life. Bu
t ou
r assignm
ent is
to create a b
roch
ure cover fo
r an u
pco
min
g co
nferen
ce (or fo
r any even
t in w
hich
the city
itself is part o
f the attractio
n), an
d th
is ho
t, m
on
oto
ne skylin
e is the p
ho
to th
ey wan
t. So
the ch
allenge is, h
ow d
o w
e coo
l it off, so
visito
rs wo
n’t com
e expectin
g to sw
elter? Th
e an
swer is fo
un
d o
n th
e colo
r wh
eel betw
een
ice blu
e and
yellow, in
the tu
rqu
oise b
lues
and
verdan
t greens o
f sprin
gtime. W
atch.
Ho
tC
old
Cool
Warm
Be
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fter | w
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w to
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l a h
ot p
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to 0472
0472 H
ow
to co
ol a
ho
t ph
oto
First step
: Find
the
colo
r pale
tte in
you
r ph
oto
E
very ph
oto
has a n
atural co
lor p
alette; first step
is to fi
nd
it and
organ
ize it. Zo
om
in
on
you
r ph
oto, an
d yo
u’ll b
e aston
ished
by h
ow m
any co
lors yo
u see.
First, re
du
ce th
e p
ho
to to
a
ma
na
ge
ab
le n
um
be
r of co
lors;
the
ea
siest w
ay is to
crea
te
a m
osa
ic usin
g P
ho
tosh
op
’s M
osa
ic filte
r (Filte
r>P
ixe
late
>M
osa
ic). Wo
rkin
g fro
m th
e b
ig-
ge
st are
as (sk
y, skylin
e, wa
ter)
to th
e sm
alle
st, ex
tract co
lors
with
the
eye
dro
pp
er to
ol. F
or
con
trast, p
ick u
p d
ark
, me
diu
m
an
d lig
ht p
ixe
ls of e
ach
colo
r. Th
en
—th
is is imp
orta
nt—
sort
you
r sele
ction
s by co
lor a
nd
e
ach
colo
r by va
lue
(da
rk to
lig
ht). Th
is lets yo
u se
e e
very
colo
r in re
latio
n to
the
oth
ers.
It’s ob
viou
s just b
y loo
kin
g th
at
this p
ale
tte is ve
ry na
rrow
.
Skyline dark
Skyline light
Water
Sky
Locate
you
r colo
rs on
the
wh
ee
lTo
fin
d co
mp
atible co
lors, w
e first n
eed to
know
the relatio
nsh
ip o
f ou
r colo
rs to
oth
ers on
the w
heel. W
orkin
g by eye (th
e wh
eel’s no
t exact, remem
ber), lo
cate you
r sw
atches b
y hu
e (colo
r) and
value.
All th
e co
lors in
this im
ag
e a
re in
the
yello
w-
ora
ng
e, ora
ng
e-re
d ra
ng
e, qu
ite u
nu
sua
l. The
sky
is som
ew
ha
t yello
we
r, som
e sh
ad
es a
re d
ark
er
tha
n o
ur ch
art, b
ut th
is is the
zon
e.
Shade
Hue
Tint
Be
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Ho
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ow
to co
ol a
ho
t ph
oto
A co
lor in
com
mo
nA
dd
ing
yello
w to
blu
e yie
lds th
e co
ol ra
ng
e; th
ese
a
re th
e co
lors o
f wa
ter, n
ew
gro
wth
, sprin
gtim
e. Th
ey a
re p
ea
cefu
l colo
rs, tran
qu
il an
d re
fresh
ing
. A
s with
a m
on
och
rom
atic p
ale
tte, all h
ue
s tha
t sha
re
a co
lor—
blu
e, in th
is case
—co
ord
ina
te n
atu
rally. A
ny
colo
r in th
is ran
ge
will w
ork
with
an
y oth
er.
Tints a
nd
sha
de
sC
olo
r is ma
de
da
rke
r or lig
hte
r by a
dd
ing
bla
ck (a
sha
de
) o
r wh
ite (a
tint). B
eca
use
the
y are
colo
r ne
utra
l, bla
ck a
nd
w
hite
do
no
t cha
ng
e th
e h
ue. A
s a re
sult, a
ny o
ne
colo
r p
lus its o
wn
tints a
nd
sha
de
s alw
ays co
ord
ina
te n
atu
rally.
Su
ch a
pa
lette
is calle
d m
on
och
rom
atic. B
lue
an
d o
ran
ge
a
re o
pp
osite
s, or co
mp
lem
en
ts, as sh
ow
n a
bo
ve.
Wh
at we
kn
ow
O
ur p
ho
to is fu
ll of co
lors in
the o
range ran
ge, and
very warm
. Oran
ge’s op
po
site—
or com
plem
ent—
is blu
e, the co
ldest co
lor. Let’s start th
ere.
Co
lor th
e b
roch
ure
It’s tim
e to take th
at ho
t ph
oto
and
sub
merge it in
coo
l colo
rs. For d
epth
, coo
lness an
d
beau
ty, two
colo
rs are better th
an o
ne, an
d th
ree colo
rs are better th
an tw
o.
Ice A
ll blue m
onochromatic palette is very cold and has very
high value contrast with yellow
-orange. Blue and orange have
no color in comm
on and therefore have high color contrast, too. H
igh contrast normally equals high energy, but here the conser-
vative dark blue (think winter) m
itigates that somew
hat.
CITIPLA
N2006S
AND
IEGO
Co
nfe
ren
ce G
uid
eC
onventionofC
it yP
lannersA
ugust 15–18, 2006 w
ww
.cp06.org
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oto
CITIPLA
N2006S
AND
IEGO
Co
nfe
ren
ce G
uid
eC
onventionofC
ityP
lannersA
ugust 15–18, 2006 w
ww
.cp06.org
Co
ld M
oving toward yellow
is a cool mix of blues and
greens; the greens share warm
yellows w
ith the photo, while
the blues provide the ice. Blue dom
inates, keeping the overall effect cold. The colors show
n here have similar value and
therefore low contrast.
CITIPLA
N2006S
AND
IEGO
Co
nfe
ren
ce G
uid
eC
onventionofC
ityP
lannersA
ugust 15–18, 2006 w
ww
.cp06.org
Co
ol C
loser to yellow, the palette is w
armer still. These are
the colors of springtime, cool and refreshing
—but w
ith sun in the sky! G
reen dominates. G
reen has a lot of yellow in com
mon
with the photo, yet the aqua blue keeps the effect cool.
Be
fore
&A
fter | w
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ol a
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t ph
oto
CITIPLA
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AND
IEGO
Co
nfe
ren
ce G
uid
eC
onventionofC
ityP
lannersA
ugust 15–18, 2006 w
ww
.cp06.org
Wa
rm H
ere, all the colors are yellow-green, a m
ono-chrom
atic palette that has the most color in com
mon w
ith the photo and yields the w
armest im
age; it doesn’t really cool the skyline very m
uch.
CITIPLA
N2006S
AND
IEGO
Co
nfe
ren
ce G
uid
eC
onventionofC
ityP
lannersA
ugust 15–18, 2006 w
ww
.cp06.org
CITIPLA
N2006S
AND
IEGO
Co
nfe
ren
ce G
uid
eC
onventionofC
ityP
lannersA
ugust 15–18, 2006 w
ww
.cp06.org
CITIPLA
N2006S
AND
IEGO
Co
nfe
ren
ce G
uid
eC
onventionofC
ityP
lannersA
ugust 15–18, 2006 w
ww
.cp06.org
CITIPLA
N2006S
AND
IEGO
Co
nfe
ren
ce G
uid
eC
onventionofC
ityP
lannersA
ugust 15–18, 2006 w
ww
.cp06.org
Analogous (side by side) tints w
ith very low
contrast are soft and touchable. Think baby products.
Photo stands out against light
tints, which recede. Yellow
“city” color connects head to photo.
Dusty, dark-light m
onochrome is
handsome; identical opposite cor-
ners act as a frame.
Low-contrast green-blue and light
blue harmonize; light green and
white cool the headline.
Ton
e d
ow
n th
e co
lor
Less saturated
colo
rs (mo
re black o
r wh
ite and
less hu
e) yield q
uieter, m
ore “p
rofessio
nal”
palettes. Q
uan
tity matters; th
e mo
re of a co
lor, th
e greater its infl
uen
ce.
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fore
&A
fter | w
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Type
face
s
1 (a–c) H
elvetica Neue 25 U
ltra Light a) 41 pt, b) 72 pt, c) 33 pt
2 Helvetica N
eue 75 Bold | 8/8.5 pt
3 Helvetica N
eue 35 Thin | 8/8.5 pt
Co
lor
141516
Article
reso
urce
s
C65
M40
Y0
K0
C60
M0
Y55
K0
C60
M0
Y25
K0
C12
M0
Y20
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C25
M0
Y10
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C3
M31
Y80
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1a
45
6
4567891011
1213
C100
M60
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C30
M15
Y0
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C100
M0
Y40
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C60
M0
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K10
C60
M0
Y100
K45
C60
M0
Y100
K0
C35
M0
Y60
K0
17
18
1b2 1c
1112
13
CITIPLA
N2006S
AND
IEGO
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onventionofC
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ugust 15–18, 2006 w
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AND
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nfe
ren
ce G
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onventionofC
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lannersA
ugust 15–18, 2006 w
ww
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107
CITIPLA
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AND
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onventionofC
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ugust 15–18, 2006 w
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ugust 15–18, 2006 w
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ugust 15–18, 2006 w
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19
Co
lor w
he
el
Before &
After’s color
wheel is an abbreviated
version of the model
in Bride M
. Whelan’s
book, Color H
armony 2,
a digest-size reference w
ork that also includes a brief intro-duction to color theory and plenty of color exam
ples with C
MY
K m
ixes. It’s strength is its brevity. Very handy.