briefs with a colour model.
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We use a language which tyrannically controls countries by
laws, and richly serenades the desperate abyss of young love.
But our tongue is sorely back in the pack when it comes to
describing colour.
Colour is such a difficult subject to write about. It is really
one language talking about another.
Homer chronicled a journey on a wine-dark sea, and early
English gentry were taught that it was only prim and proper to
describe their suits in terms of accident prone fruit, like crushed
raspberry, and burnt apricot.
Which is a whole lot simpler than a more scientific approach
where a hue is the attribute that distinguishes one colour from
another, and a tone is the position a hue holds in a scale from
dark to light. Then tints and shades are variations of tones,
and intensity is the position a colour holds on the purity of the
colour.
And those methodologies apply to just single colours. When
colours are placed beside each other, or mixed, then one has to
understand the workings of the Bezold Effect, the McCollough
Effect, the Weber-Fechner Law, and confusingly more.
If you have been tasked with creating a standout corporate
image, or constructing a knockout brochure, we have made the
path to choosing a pleasing, but so unique, colour combination
a rather easy walk in the park.
We have collected many hundreds of these colour model
samples, from all types of sources, and each will be presented
here for your deliberation, and use. In the presentation of
each the original source is included, along with colour boxes
where we have sampled and arranged the colour model.
All you need do is use your favourite image application to
colour pick the boxes that will fit your project.
The uniqueness of these colours comes from choosing a
source that is beyond the imagination of the standard swatch
sample guide. For example, colours sampled from any old
watercolour illustrations are pre-filtered by the type of paint,
and the gently aging of the paint and paper. Colours samples
from ancient Japanese kimonos are filtered by the types of
vegetable and fruit used to make dyes hundreds of years ago.
And colours sampled from schoolboy comics are filtered by the
raw duotone colours used to fill the storyboard boxes.
The 1953 racing 12 cylinder, 3 litre Benz illustration by
George Pye. Colour model.
For those keen to use this colour model approach to design,
but cannot find the colour soul mate they are looking for in the
models featured above, let us know and we will give you a wee
peek at some of the new models we are currently preparing for
release in the coming weeks. Perhaps there is something there
that will pep your project, and career.
If you do not have the time
to read this page, the printed
bottom line is this, to create a
design like no other, you must
use colours like no other, like
the ones presented here.