you wake up in the morning, you look in the mirror and you decide how you look or how you feel mostly dependent upon color. color caneffect you both physiologically and psychologically. you can make somebodyfeel something with color. piss them off. yeah. color is everywhere. it's just pervasive all throughout ourlifestyles, our culture. whether or not you're verbalizing it, you're actuallysaying something to the world: "this is me because i'm wearing this color." most people know color. you know color, you use it every day. you interact with it. that's how you make your way through the world and the color perceptors in your eyes are rods and cones.
cones start with a "c" and they perceive color, your rods perceive grays. color theory, as a definition, it'smore the mixtures and implementation of combinations of color. color is the umbrella under which hue,value, and chroma rest. hue being the distinction between different colors on a wheelfrom red to red orange, so to speak. value being light and dark and chroma beingbright and dull. the color wheel is a tool that helps us talk about thephysical phenomena of light and how we perceive it and how we ultimatelyimplement it in designs and the combinations. we now teach more based on the harmoniesand contrasts and how it relates to how
you utilize color. so students learn aboutcomplimentary colors which tend to be opposite one another and clash which isjust two colors but they're one-off of complimentary. i think that there's beenmany different types of wheels and so i say to students nowadays, i don't mindif you invent your own wheels with your own nuanced understandings of colorbecause you're a different human than whoever came before you and who knows whatyou'll come up with invents the future that we haven't even seen yet. so, you get a lot more interaction withcolor nowadays on multiple levels and people are aware of this. they know thatthey're affected by it soulfully and not just
mentally. and you should take thatstrength in your soul to build your own understanding because it is so personaland you change. color, for me, is what i call sort of asilent language or an emotional language that we all sort of intuitively know howto speak. as we see color we start to associate it with different things in our lives.we have three different types of associations: universal, cultural, and individual. individual color preference is a reallyinteresting dynamic. i think color trends play a part in color preference. quiteoften though, it may be associated with an
experience. there are definitely universal aspects tocolor and they are usually the physiological ones. so red is definitely theone that increases your heart rate when you first see it. it makes you want to move.there's some studies that actually say that you'll walk faster, you'll eat more,you'll talk more when you're, let's say, in a red room than any other color. one greatexample is you think of the red carpet. well, there's a reason why the red carpet is thered carpet and that's because it keeps the traffic flowing. where, conversely, when you see blue theopposite will happen. so you become
more calm and relaxed. i think the one that is mostinteresting is the cultural differences. for the most part it's usually a learnedresponse. so when you're very young you might think of brown as dirty and earthybut, as time goes on, you learn to adjust those associations. so, all of a sudden, when espresso and coffee became a whole new trend, brown took on a whole newassociation. when we start to think of things like recycling or environmental concerns it's natural for us to think of green. so we develop differenttypes of associations that we share with other human beings and, as we grow,those become more and more meaningful to us.
i've gone back through the twentieth century andand i found that there were some ebbs and flows of color and it's just anevolution of a shit not a revolution. color is not the place where i look first. it's the why behind it; theeconomic, the social, the political, the technological, environmentalinfluences. they're all the drivers of why color is always evolving and revolving. with the economic issues that we've had inrecent years, people gravitate to safe colors, grounded colors rooted in the past and rootedinto the ground. so you bring up, what we call, organiccolors and as we get familiar with
that, there comes a time when we need a pick me up. so take the familiar and just add a little accent of something new and giveyou a totally new look. here we were with the depression. people were sodepressed they needed to put color back in their lives so they colored glass and that's where depression glass comes from. go back to the sixties and we saw the psychedeliccolors coming in because of the drug culture. just pattern on pattern, color oncolor and it was just a kaleidoscope of everything happening all at once. and in theseventies we had rest for a decade. we browned out and, remember the decoupage and almond and beige and browns of the
nineteen-seventies. so, in forecasting, welook at those kinds of trends, what are constant, but also something new anddifferent for the forecast in the future. as like a gif artist you can only use two hundred and fifty sixcolors. i think the restriction is really cool. it's like something common that all gifmakers have to think about when they're making a gif. you work within this resolution that, in today's high-def, you never see so it almost gave it anaesthetic just because it was so constrained. it's minimalism.
it lets the viewer fill in the blanks. it's communicating with people via imagery.we like to experiment with different types of film. that's why you never see the same looking portrait shot. you get like different colors that you wouldn't get with your perfect camera. like a vhs camera brings out the oranges and makes everything super-saturated. youalmost can't fake that kind of color because of the way the colors interact with each other. you can always make a rainbow move
because there's so many colors to cycle through. you don't even have to be choosy on the colors as long as you have all of them in there. i'm like a black and white fiend. you know, like, the conscious decision of not using color and making it work. black and white is bold. but then you throw in, like, a little red. it'll make that red pop just that much more. variety, you know, like if you see our page. if it was all color or all black and white, it wouldn't have much impact. when it comes to colors, though, you want to think of like what colors match before you even
worry about what colors you can't use. and like you can make anything as long as youmake it look intentional. it's like a taste of nostalgia. it's also like the challenge of trying to convey an idea in these blocks. usually people think picking the color for something is pretty simple but it actually gets complex pretty quickly. color's emotive and i don't think it ever stays static and so you're looking at color in a different way ofaccenting it rather than changing it abruptly. it's just that you have to learn to identify it and codify the language: how do i arrange them
and how do i speak about that arrangement so that other people understand what i'm creating or doing. use black and white sometimes. colors are just fun, man. i just want to, like, inspire people to make fun stuff.
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