Adapted with permission from Colour Management for Logos: A comprehensive guide
for graphic designers
by John Drew and Sarah Meyer
RotoVision Copyright © 2012.
A true three-color logomark, using three inks, is rare in comparison with all other marks. Not quite four colors, a three-color mark offers little budgetary gain, and is far more expensive than a one- or two-color mark. Therefore, stretching two colors to make them look like three is often a better solution.
Many of the traditional color schemes that have been empirically tested by generations use three hues. Primary, secondary, tertiary, triadic, split complementary, and an analogous color scheme use three hues to construct the palette. However, many of the traditional color palettes that utilize two hues can be easily altered to create a complex color scheme. From budgetary concerns to legibility issues, color ultimately controls the effectiveness of the end product.
amangah
Designer: Azin Ghazinia
The economy of line found within this logotype is remarkable. The two letterforms, lowercase “a” and “g,” not only act as initials for “amangah” but also operate as a face. The red and yellow dots reference human eyes, and the ascender and descender represent hair and the silhouette of a jaw line respectively.
Associative Color Response
- powerful, basic: black
- brilliant, intense, energizing: high-chroma red
- excitement, stimulating, fun: high-chroma yellow-orange
Color Scheme: primary plus neutral
Let’s Go To Work
Designer: Mark Raebel
Studio: Arsenal Design
As shown here, a gross screen pattern and high-contrast image is best when it is utilized within a mark. In this way, the mark can be used in all media with no significant loss of quality.
Associative Color Response
- excitement, stimulating, fun: high-chroma yellow-orange
- pleasant, peaceful, happy: pastel blue
- dignified, lively, pleasant: high-chroma blue
Color Scheme: direct complementary with tinting
The Dorrance Group
Designer: Mark Raebel
Studio: Arsenal Design
The Dorrance Group mark is constructed in a symmetrical manner. However, the mid-range yellow-orange and blue-green are added to energize the mark. The “dg” is tilted in an upward 45-degree angle, amplifying the positive kinetic energy found within this color scheme.
Associative Color Response
- comfortable: mid-range yellow-orange
- mellow: mid-range blue-green
- quality: neutral gray
Color Scheme: incongruous plus neutral (tinted)
Har-Vest
Designer/Creative Director: Drew M. Dallet
Studio: Boom Creative
The black hue operates to define the silhouette of the mark, and is very legible from a distance. The high-chroma blue functions to define details within, while the neutral gray conveys highlights and softens the harshness of the mark.
Associative Color Response
- dignified, lively, pleasant: high-chroma blue
- quality: neutral gray
- powerful, basic: black
Color Scheme: one hue with neutrals (tinted)
Bumbershoot Forge
Designer/Creative Director: Drew M. Dallet
Studio: Boom Creative
This beautifully executed color scheme harmonizes well with the script typeface, giving the mark a look of elegance.
Associative Color Response
- excitement, stimulating, fun: chroma yellow-orange
- flamboyant, elegant: high-red-violet
- powerful, basic: black
Color Scheme: incongruous plus black
David Ellis Photography
Designer/Creative Director: Drew M. Dallet
Studio: Boom Creative
The method of separation is utilized within this logotype to pull out the most meaningful content. This is done through the use of color (red). Note that “photography,” in red, is typeset much smaller than the rest of the mark. There are many technical ways to create separation (to mark out plainly the most meaningful part), and one of these is to be understated—this technique is superbly done here.
Associative Color Response
- professional: dark gray
- powerful, basic: black
- brilliant, intense, energizing: high-chroma red
Color Scheme: one hue with neutrals (tinted)
Hughes Holdings
Designer/Creative Director: Drew M. Dallet
Studio: Boom Creative
The white hue is achieved through type reversal. Many times an additional hue can be achieved by reversing out the type to the color of the substrate. However, if the paper is something other than white, the colors within the hue scheme will be tinted the hue of the substrate.
Associative Color Response
- warm-hearted, welcome, good: earth-tone red
- serene, credible, devoted: dark blue
- clean, cool, innocent: white
Color Scheme: near incongruous with white
Tirestore.com
Designer/Creative Director: Drew M. Dallet
Studio: Boom Creative
In this logomark, black is utilized to ground the mark while red-orange and red-violet are used to create a lively color combination that helps to create kinetic energy and make the mark memorable.
Associative Color Response
- powerful, basic: black
- flamboyant, elegant: high-chroma red-violet
- friendly: high-chroma red-orange
Color Scheme: near simple analogous plus neutral
Prescriptions Plus
Designer/Creative Director: Drew M. Dallet
Studio: Boom Creative
Choosing the right color scheme for the right job or subject matter can sometimes make a critical difference. In this case, designer Drew M. Dallet selected two hues that match the safety and health aspects concerning the delivery of prescription drugs.
Associative Color Response
- service, clear, security: high-chroma blue
- new, pristine, pure: high-chroma blue-green
- powerful, basic: black
Color Scheme: simple analogous plus neutral
Velo
Designer/Creative Director: Drew M. Dallet
Studio: Boom Creative
This simple analogous color palette helps to convey the client’s intent by creating a mark that appears to be both global and radiating out from the center. This is brought about through the use of warm and cool colors.
Associative Color Response
- warm-hearted, welcome, good: earth-tone red
- flamboyant, elegant: high-chroma red-violet
- powerful, basic: black
Color Scheme: simple analogous plus neutral
Chelsea Title Agency
Designer/Creative Director: Drew M. Dallet
Studio: Boom Creative
The Chelsea Title Agency crest is an excellent example of using the correct color combination to create a visual impression. In this case, gold, red, and black combine to help create a mark of prestige.
Note, when dealing with metallic inks, create a sidebar electronic mechanical that runs on the wastepaper surface of the printed job. Overprint the metallic inks, in different tints, with the other hues. Most printers, so long as there is no trim work, will print the sidebar with no additional cost. This will yield tremendous insight into how to use metallic inks more effectively and uniquely. This can be done with all hues.
Associative Color Response
- valuable, radiant: gold
- powerful, basic: black
- brilliant, intense, energizing: high-chroma red
Color Scheme: near incongruous plus neutral
First Nation Supply
Designer/Creative Director: Drew M. Dallet
Studio: Boom Creative
The mark and color scheme for First National Supply is a Native American symbol, Dreamcatcher, and reflects the sensibilities of the owner’s and client’s cultural sensibilities.
Associative Color Response
- excitement, stimulating, fun: high-chroma yellow-orange
- brilliant, intense, energizing: high-chroma red
- powerful, basic: black
Color Scheme: near incongruous plus neutral
InSight
Designer/Creative Director: Drew M. Dallet
Studio: Boom Creative
This simple monochromatic color study with tinting effectively creates movement from right to left. Emphasis is placed on “In” to create a stress point for proper pronunciation and inflection.
Associative Color Response
- charming, elegant, refined: high-chroma blue-violet
- classic: mid-range blue-violet
- elegant: pastel blue-violet
Color Scheme: monochromatic with tinting
Yujin Ono 1
Designer: Yujin Ono
Art Director: John T. Drew
An achromatic color palette is utilized here to create a mark that is conservative and professional. The two circles are added to help create a counterbalance and infuse the mark with a minimal amount of kinetic energy.
Associative Color Response
- quality, basic: muddy gray
- professional: dark gray
- powerful, basic: black
Color Scheme: achromatic
