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Trouble-Free Color Palettes: Transform
Shift, alter, distort, transfer. 
February 2009
As the internet and television bring us instant information and access to millions of resources worldwide—some more trustworthy than others—separating fact from fiction requires a bit of skill ... and luck. Illustrator Lonnie Busch recognizes this conundrum, as depicted in his illustration below. Using a palette that combines warm, rich shades along with cooler highlights, Busch is able draw the viewer into the action.

“The subject matter of any piece will get you only halfway to your goal. Color will take you the rest of the way there,” says Busch, “because you do so much with it—create moods, tell stories.”

“When I am doing product illustration, I am using color and tone to create appeal, make something appetizing. If I’m working on an editorial piece, my concerns are more about evoking a certain mood or atmosphere, telling a story—upbeat, scary, dangerous, optimistic, majestic, funky. But am I using color vibes to make people buy way more toilet paper than they need? I hope not!” says Busch.

Busch selects colors intuitively, without a lot of forethought. For him, color is about a marriage of “subject matter” and “feel”—colors that reflect the mood of the piece: “Sometimes the color isn’t right from the beginning, and it’s bugging me, so I push on, finish up more of the piece, knock something back, bring something forward, delineate an edge, throw an orange cast across the background, whatever it takes until the piece starts to sing—until it ‘feels’ the way it looked in my head before I started.”

When asked whether Busch had any favorite colors, he pointed out “that’s like asking a fish what is his favorite water.” Touché.


Turning the page
“Photoshop had to be designed by Super Artists, guys using both sides of their brains. The interface is so user-friendly that if you think something should work a certain way, it usually does,” notes illustrator Lonnie Busch (www.turnbackcreekbook.com) of his favorite software. His design process varies from project to project—sometimes shooting reference material with his Canon 5D or drawing a quick sketch. “I don’t have a scanner anymore, and don’t really want one. Too slow,” he says. With a photo, “I might get some distortion, but all the better. I just need some pixels to start building on, moving around.”

Hip fonts
Make headlines with Lucida Blackletter (headline), available at www.fonts.com, and Times New Yorker (spin), available free at www.dafont.com. Change focus with Plexifont (elude) and Shift (dodge)—free at www.dafont.com.
Spin-zone
Step up to the mic and share your thoughts with us. E-mail dgmeditor@graphics.com and let us know what themes are important to you. Image 4838225, Comstock Images, www.jiunlimited.com. (download your free images at www.dynamicgraphics.com/downloads)
Ripped from the headlines
Busch draws inspiration from the outside world: “It’s all around me, everywhere: the cover of a brochure that arrives in the mail, a tree stump covered in soot mold, the reflections off a ’58 Chevy Impala at sunset.” Image 5201916, Bananastock, www.jiunlimited.com

PALETTE: Transform

PALETTE: Combinations

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