Color as Logo - Reposted from Logolounge.com

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// COLOR AS LOGO

by Peter Windett

Orange, the mobile telephone company, was indeed not the first entity to use color as a logo. In fact, color as symbol began with medieval knights and the samurai, before fighters wore uniforms as we know them today.

When going into battle, it was essential to be identifiable by friends and foe alike. Flags, standards and other heraldry were boldly displayed, covered with basic geometric design and strong color. In quantity, such mass use of color and symbol was meant to intimidate the enemy. But, more importantly, it provided a rallying point for allies to group or regroup.

Today, instead of flags, we walk around with shopping bags that indicate our tribal inclinations. Not much has changed.

Battles still rage, however. Orange-the company-is enmeshed in a battle to defend its signature hue against the EASY Group, whose identity color is also orange. EASY is entering the mobile phone market, and it uses orange on its planes, cafes, exhibitions, and cruise ships. The people at Orange are seeing red.

Where this ends up is a matter of conjecture and will certainly involve legal minds. The question is: Can a color be owned by a brand to exclusion of all others? Is this a genuine commercial clash?

Verve Clicquot champagne is a brand that has also made significant brand awareness through the use of the color orange, probably through having the most recognized label in the market (although one questions how many consumers actually know the brand name as opposed to knowing it as "the orange champagne". Such is the strength of simplicity).
But what if Orange or EASY wishes to enter the champagne market?

What would happen if a new jewelry company decided to adopt a certain pale green/blue as its identifier? Tiffany jewelry wearers would be absolutely outraged. How dare someone else dally with the company's color?

The Financial Times created the concept of pink paper for financial information. Now, other publishers/media use pink paper to signify financial sections within a newspaper or journal. Here we have an example of where color has taken on such significant recognition in the consumer's mind that to print financial pages on any other color but pink would not have the same credibility. Pink gives the authority to the subject.

Hertz owns black and yellow. Chanel claims black and/or white, and Hermes is burnt orange. Yellow cabs are what they are. But the London red bus loses iconic symbolism as it becomes multi colored, as does the London Taxi.

It's hard to fight history and the tide at the same time.

The lesson to consider from Orange, Tiffany and others is that the consistent and extensive use of a unique color or color combination may be more powerful to the consumer in brand recognition than any brand mark comprised of words, images or a mix of both.

Of course, the color must fit the brand proposition. Would Orange be as powerfully recognized-in such a short period of time, anyway-if it were a more passive color, such as duck egg blue? Obviously, no. Color is a vital part of a carefully managed and creative marketing concept

For brands seeking to simplify their mark, or mark their identity in the global market, the color statement is a strong tool. Where underlying trends are to pare down, where creating new marks that can be protected becomes harder, where brands have to have meaning and recognition in diverse markets, color is a powerful tool.

And unlike words, color needs no translation. However, we all respond to color differently, we even see color differently, so above all else the color must rally us to the brand proposition.

Peter Windett has just formed a new company, LRW Design, London, with long-time friends, Ian Logan and Julian Roberts. The design partners are focused on branding food, fragrances and drinks. You may view their work at www.lrwdesign.com.

Magic of Colors

(A repost)

Discover Your Power Color

By Pamela Harding

Are you feeling blue? Seeing red? Looking green around the gills? Try a healthy dose of color therapy. It might be just the prescription you need!

Our ancestors believed that color held magical properties. It could be used to ward off evil spirits, attract good ones, and even heal the sick. While in this age of hard science and cool technology we may view such beliefs with skepticism, our fascination with color has taken on new forms. Biochemists, environmental and industrial psychologists, make-up experts, wardrobe consultants, and, of course, advertising pros have studied color and found how it affects mood, health, image, perception, even heart rate. Certain colors can prompt you to eat faster, perceive objects differently, and even make you spend more money.

Although babies are drawn most strongly to bright colors, and children often prefer solid, vibrant hues, adults tend to choose more subdued tints and shades of color: pink and rose or maroon instead of fire-engine red, for instance, or peach, melon or rust instead of bright orange. To surround yourself with what you feel comfortable is most important. Certain colors can ramp up your mood, but only if they appeal to you. If they don't, they can do the opposite.

Red

Blood pressure, respiration, and muscle tension all increase on initial exposure to red. But, this jazzy hue also boosts spirits and stimulates creativity, conversation, and theappetite (which is why it is used in many restaurants). Red is also a popular color in casinos—people are more likely to gamble in a red environment than in, say, a blue one. Rooms with a lot of red feel warmer, heavier, and time seems to pass more slowly in them. Red may increase passion, but also aggression, anger, and restlessness—it's probably not the best choice of color for a bedroom. In clothingred conveys energy, power, and leadership, but can also signal romance and sensuality, depending on the garment.

An interesting note: when you have two objects of identical shape and weight, one red and one blue, most people will think the red one is heavier. (Might be one reason to rethink that red wardrobe! On the other hand, red accents could perk up your image.)

Orange

Like the edible fruit, orange is associated with health and well-being. Eye-catching, stimulating, exciting, and mood elevating, the color decreases irritability. Like red, it boosts appetite, but it will stimulate people to eat and run—hence the popular orange in many fast-food restaurants. Generally, orange conveys a sense of youth, quickness of mind and body, and is perceived as a warm and friendly color. An orange accent on a plate makes food look more appealing and lighter tints on walls or clothing flatter the complexion. Peach and melon are good colors for living rooms and dining areas. People who wear orange are seen as cheerful, emotional, communicative, enthusiastic, and fun.

Yellow

Vibrant yellow, bright and easily visible, is a great color to wear on dull, dark, or rainy days to add a little sunshine to your life. (It's also a good color to wear after dark if you're walking along busy streets.) The color projects love, light, warmth, and wealth, enhances communication, learning, mood, and energy level.

Generally, yellow combats gloom and fatigue. It opens up or brightens rooms, and pale tones are good choices for classrooms; warm tones good for play areas and living rooms. It's the most visible choice of background color for signs (with black lettering). People who wear yellow are perceived as sunny, intelligent, warm, and compatible. So wear gold (also in jewelry) or yellow when you're asking for a raise.

Green

The color of money, but also balance, harmony, and control, green exudes prosperity and well-being. It increases the ability to concentrate, while reducing muscular tension and stress.Refreshing and restorative, green is an ideal room color for sedentary or monotonous tasks—a good color for learning and doing. Rooms feel cooler and fresher. Turquoise and light green are good choices for kitchens, since they make room temperatures feel cooler and time and tasks seem to pass more quickly. Wear green to give the impression that you feel in control. It's a good color to wear if you're trying to keep the peace, mediate, or generate team spirit.

Blue

Blue hues lower blood pressure, respiration, and pulse and convey a sense of peace, serenity, and tranquility. Blue objects tend to feel lighter than they are. A pale blue bedroom creates a light, airy atmosphere and is likely to create a peaceful, restful environment that helps lull you to sleep. Rooms feel cooler, and time passes more quickly. Blue is also a good formal color for living rooms. However, choose the hue wisely, because it can also be depressing in bathrooms or dining areas, making people's complexions look gray. In clothing, “true” blue is an American favorite. Wear blue to inspire trust and loyalty, encourage communication, and convey a sense that you belong.

Violet

Violet hues suggest something unusual and superior. Associated with high spirituality, violet can also convey somberness or solemnity, and may be interpreted as either uplifting or depressing. Good forprayer and meditation, the color has an otherworldly character. It's not generally a good color choice for walls, since large expanses disturb the eyes' ability to focus. Wear violet and you'll project unconventionality, nonconformity, and creativity. The color stands out in a crowd and may be associated with acute perception and deep insight.

New Pattern Inspiration

I wonder what sort of pattern network did they use here, if anything. I think this is perfect for my signature color book! And, it's totally the in print right now - ikat! Associated with tribal and ethnic look and feel, ikat print is a shoe-in for my exotic paradise!

Jack O' Pattern

For some reason, I feel discontented over the patterns that I've created. I need some stroke of inspiration to cook up a novel kaleidoscope other than what I got. I'm still not about to give up, but in the meantime, here are my works in progress.

Scheming Colors

I'm loving this particular homework! I like assembling photos that seem so unrelated content-wise, but are connected intimately because of their unified color palette. At first it was a little up in the air how I was to assign a color scheme for textures that relate to my blue-green signature color. I mean, which comes first: the scheme or the texture? So, here's what I did, step by step:

PART 1

1) Keyed in blue-green in Getty Images (thanks Getty).

2) Selected photos.

3) Narrowed the search to textures only (although I already did that in step#2).

4) Opened Adobe Bridge and classified photos with the same color palette.

5) Set this aside.

PART 2

6) Opened Kuler and started creating my own color schemes based on the base color blue-green (0R, 128G, 128B).

7) Saved all possible schemes (monochromatic, analogous, complementary, compound, etc.)

8) Customized the base color (assigned blue-green tints and shades), and created Lite and Dark Schemes.

9) Set these aside.

PART 3

10) Opened Color Scheme Designer. I needed an application that had the actual color wheel, and I didn't find that in Kuler.

11) Created more schemes (tetrad, etc.) that I didn't have yet.

12) Realized while I create schemes I can cross-check that with the contact list of photos in Bridge.

13) Chose the following schemes and photos:

Tetrad Color Scheme

(clockwise) closeup detail of reptile, autumn leaf drifting

on the pool, parrot, optic fibers, penguins,

Yellowstone Park "Morning Glory Pool"

Analogous Color Scheme

(clockwise) closeup scales of parrotfish,

yoga mats, extreme closeup of ice in

a glass of water, fins of parrotfish, sequined pillows,

glass building windows, marbles

Compound Color Scheme

(clockwise) polaroid of cherry blossoms, raw blue agate,

yarn, bird feathers, bath salts, foliage, sea waves, crystal,

digital marble texture, rice on a blue background,

wooden door, backflip on the beach, sea shells.

Multicolored Multifacets

I like how color aids in conveying information. Apparently, these guys have taken that to a whole new level. Using color, this website will determine the many wonderful sides of you they can find in the internet. Click here!

I like how color aids in conveying information. Apparently, these guys have taken that to a whole new level. Using color, this website will determine the many wonderful sides of you they can find in the internet. Click here!

Pattern Homework

So, this is my foray into pattern networks. The lecture was really helpful in showing how to build an intricate weave from a basic unit. I especially liked assigning the units with a letter, and expanding the formula accordingly (e.g. AaAaAa).

I used the teardrop shape, because that's my shape inspiration (i.e. peacock feather). I started out with a really simple execution, and then for the last one, I wanted to go for an "ogee" network or a "scale" network. I may need to consult with my teacher to see if I did it right.

Example 1

Example 2

Example 3

Example 4

Book Page Templates

Inflation of Fashion

I just don't know how she can sit down in this. But I like it! I would wear this to the premiere of the 3D animation, Up. Here's more of it

Achromatherapy

I hereby name these pattern swatches as: Nom De Plume, Croiss, and Foliag.

Nom De Plume, (nom-day-ploom)

as a tangent anagram for plumage, inspired by peacock feathers.

Croiss, (c-wahz)

because it's so French, delicate, and really, it reminds me of croissants.

Foliag, (f-ho-lia)

inspired by foreground leaves you defocus from spotting your crush from the other side of the park.

Printed Matters

Prints are like personalities. Throw in an animal print to a solid colored environment, and you got yourself that life of the party character that everyone gravitates to. Or a mix of floral prints, and you've got yourself that dainty, delicate bud of a girl who wouldn't even hurt a fly.

I personally only still use the staple prints in calculated proportions in my life. Thin stripes on my long-sleeved polo shirt. Flower prints on my skirt. My favorite plaid school girl skirts. And that's about it. I don't do line drawings of mini-monsters, or polka dots. I have a tie-die hood scarf, and that's about as hippy as I can get. I guess if you throw all my prints in a room, you'll be in the company of refined, classic women - who let loose every so often as a hipster, a boho chic, or a mysterious minx.

Beauty is in the Eye of the Upholster...y

Patterns applied to spaces for interior design here, there, and everywhere.

I Missed Pantone

I missed Pantone. I had to take a break otherwise I was going to get really sick. But I wish I was there. :/ I wanted to suggest they should come out with a nail polish line.

Thank you Polyvore

moodboard

http://www.polyvore.com/mercy_me/set?id=17321674


other links

http://www.polyvore.com/free_flower_clipart/thing?id=74440

Albers-inspired Furniture

Color studies are not just for paper, they're for furniture and upholstery too. See here.

Pitter-Patterns

Here's a website that acts like an image database of print patterns that one can buy, or one can upload to and sell!

I found my homework answers right here, too.

1 - inspired by nature, but chaotic and random in print, click here.

2 - geometric pattern, (very Albers, too) click here.

3 - photographic, freeform or based in type, 2 patterns together, kaleidoscopic, click here.

The Next Secret Weapon

Maybe we should develop a Crayola bomb as our next secret weapon.

A happiness weapon. A beauty bomb.

And every time a crisis developed, we would launch one.

It would explode high in the air - explode softly

- and send thousands, millions, of little parachutes into the air.

Floating down to earth - boxes of Crayolas.

And we wouldn't go cheap, either - not little boxes of eight.

Boxes of sixty-four, with the sharpener built right in.

With silver and gold and copper, magenta and peach

and lime, amber and umber and all the rest.

And people would smile and get a little funny look on their faces

and cover the world with imagination.

Robert Fulghum

The Early Blue(Green)Prints

What Will It Be?

The essence of the blue-green that I want to put forth in the book is really about paradise. The story that I wove before was about a moment that took place in a kind of "paradise". And, all the photos that I've been lucky to find in the net are of the beach, whether it was taken professionally (or with a professional camera) or a polaroid (which when kept for a long time fades to either cyan, magenta or yellow, depending on the percentage of color used).

I don't want the book to be a series of just beaches. I want to capture what paradise means. Is it always just about the water? Can it be about an object? A picture? A person?

This is where I am at, and I'm confused. Maybe I should just toss a coin.

Catching the Blues (Blue Greens)

This is one collection of the blue-greens in images I've mined on the net. Unfortunately, and frustratingly enough, there are not a lot of blue-greens around in real life (here in the city) yet. There is cyan, though, but I have been holding out on a combination of blue and green. I see it fleetingly on a scarf, or a shirt, or a bag, or a beauty product, or a salt shaker. They don't evoke the blue-green essence that I want to capture - paradise.

The concepts swimming in my mind for my color book are:

paradise

forgotten paradise

untold paradise

secret paradise

captured paradise

exotica

hidden exotica

secret waters

quench

waters of eden

eden

liquid eden

exotique

secret exotic

Photo Paletting: Actually, It is Rocket Science

The original photograph

with my signature color Blue Green.

So I started out with my photograph. I selected an image that was composed of my signature hue but also included a contrasting (complementary) color.

I followed all of the suggestions to simplify photos and group colors, so that the color palette based on the photograph would be more evident.

The Median output seemed to make the colors coagulate the best. I thought at first that a Mosaic treatment or even a Crystallize treatment would separate the colors better, which they did, but the separation created so many tints, tones and shades in between, and I don't want to go crazy manually noting down the color codes of each square or fragment.

From the color separation done in Photoshop, I went to the more hands-on task of calculating the proportions of the most distinct colors in the image in Illustrator.

Here's what I did:

1) I set guides on the edges of the image, breaking it afterwards in halves, and plotting the guidelines there accordingly.

2) Then, I assigned a spectrum of greys and recreated the same plane using a square as the smallest unit of measure.

3) Since I have two colors occupying 50% of the picture, and nearly 25% of the picture, I simply divided 25 into 8 to determine what percentage a square occupies. One square is 3.125%.

4) I enumerated the rest of the proportions based on the types of shapes formed: a square, a half-square (triangle), two squares, three squares.

5) Then, I represented the %'s in a strip and in circles, scaling them according to the numbers I obtained.

Who knew that the way to arrive at this artistic representation is by using the scientific method? Thank God I listened to my high school teacher.

When Blue Green Meets Red Orange

Step 1:

Create a 4-step tinting gradation from Blue Green at 100% hue, at the L-most column.

Step 2:

Create another 4-step tinting gradation from its complementary, Red Orange, at 100% hue, at the R-most column.

Step 3:

Create a mixture of Blue Green and Red Orange that is "cooler". Place this on the column next to the Blue Green.

Step 4:

Create another mixture of Blue Green and Red Orange that is "warmer". Place this on the column next to the Red Orange.

Observation:

This 4x4 matrix was quite a challenge for me. Of all the steps, I took the longest in steps 3 and 4. I was already comfortable developing the right hue to represent blue green, and tinting it in 3 other steps was truly not that difficult. But steps 3 and 4 were mixtures, and it was up to my eye to gauge its temperature, and its logical tint when white is mixed in increasing amounts.

Generalization:

Although it doesn't scan well, column 3 from the L (the mixture close to Red Orange), produced rather earthy, muddy shades of brown. I was so surprised to find out that the base colors of my comforter was blue and orange, two of the colors I least use and prefer! Thinking it was "mocha", I automatically partner shades of that brown with baby pink - for that dessert cake feel. No wonder when I put up (and took down) a cyan colored poster it felt appropriate!

Another thing I realized is that I often select colors that are combinations of complementary colors, after all. To me, they're all just "muted" or "neutral" which I often gravitate to rather than the bold and bright. But this has awaken me to the knowledge that I don't prefer cool or warm by themselves, but a balance of them together.

A Paint's Second Life

These are some of the byproducts of paint used for the first couple of color workshop homework we have had in class. The grey was from the greyscale project; the yellow and violet was for the complementary color project; and, the blue was for the blue-green project. I'm happy to report the ingenuity which sparked my swooshing of the brushes to achieve these monochromatic works. Homework paint's second life begets clouds, a dancing ballerina, and a moonlit path through the woods.

True Colors

You know, I don't think we realize just how much color helps us. They tell us things. They do.

You can tell if the food you're cooking is ready to eat when it changes color. Meat turns from pink to golden brown, and you know you're going to have a nice satisfying meal. Or when a fruit's ripe, you know it when it changes color. If those mangoes are still green, that means you're in for a sour awakening if you try to eat them too soon. If you get a bruise on your leg, it turns blue-violet. That color's telling you to make sure that area doesn't get banged up again, or else it's going to hurt.

If you're swimming out to sea, and the water changes from light blue to royal blue, that means that you might not be able to touch the ocean floor and keep your head above water at the same time. Or if you talk to someone and see that her eyes are red, that may mean either she's got colds or she had been crying.

So watch out for color. Because it watches out for you.

The Color of Paradise

I'm starting to own my color more and more now. Although it's difficult to find it applied in a city like this which is so urbane, I am going for the Blue-Green that represents paradise. If I can't find that in this city, does that mean New York City isn't paradise?

Where are you Blue-Green?

I can't find any blue-green in the city! Help me! If you see any, please tell me!

Blue-Green Sampling

Note: I experimented testing mixtures to create hues that are associated with my assigned color Blue Green. BG stands for Blue Green, which is an existing pigment I have from Guerra. Y stands for Azo Fgl, another pigment from Guerra, which really is just yellow. and BI stands for Binder, which I chose to be the Silica Flat. I didn't know until after class that I can (and really should have) use white (Golden Fluid Acrylic) to open up the darkness of the samples I made, and see what the colors really were trying to be.

In the end, for the tinting project, I selected the swatch on the Right column, Top square, with the code BG-3, Y-1, BI-1.