Designed and Curated by Alyssa Stephens
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CONTENTS: INTRODUCTION...........................1-2
COMPLEMENTARY MOVIES...17-22
BALANCED COLOR SCHEMES......3-4
ANALOGOUS MOVIES............23-28
MONOCHROMATIC MOVIES........5-10
CONCLUSION........................29-30
TRIADIC MOVIES.....................11-16
“Even before color film existed filmmakers have been using color as a tool for beauty and storytelling and visual minded directors have created color palettes almost as memorable as the films themselves. Color is one of the most effective tools in a storyteller’s arsenal. From fiery red, to the coldest blue, a great filmmaker knows just what colors to paint on the screen” –Cinefix
INTRO In considering cinema’s origin in black and white, it’s not surprising that there is virtually an obsession with color in films. From wardrobe choices and color gels, to post-production filters and fonts, movie color schemes play a vital role in the success and understanding of a film. People in creative fields already have the eye for beautiful composition and aesthetically pleasing color schemes; but the overlap between artists and film is frequently overlooked. Film is virtually moving artwork, by taking some of the most compelling uses of color and compiling them, we as designers and artists can continue to look more closely to film for inspiration and admiration.
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COMPLIMENTARY
ANALOGOUS
MONOCHROMATIC
TRIADIC
BALANCED COLOR SCHEMES Although single, recurring colors can hold a deeper meaning, a more flushed out film palette of colors (aka “color scheme�) is most effective in communicating the thematic context. Balanced color schemes refer to the harmonious relationships of colors on a color wheel. A balanced movie color palette creates unity and promotes a cohesive tone.
Monochromatic color schemes come in shades of a single color such as red, dark red, and pink. They create a deeply harmonious feeling that is soft, lulling and soothing.
THE GRAND BUDAPEST HOTEL In ‘Grand Budapest Hotel’, Anderson uses a variety of monochromatic schemes to offset the most dramatic moments with comedic undertones. It allows the viewer to more closely analyze Wes Anderson’s use of color, not just to simply appeal to the eye. Color is used to transition between settings and can set the atmosphere and tone of the scene. Costumes and props are illustrated with different colors for symbolic significance or to make actors or objects stand out in a scene.
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THE MATRIX Monochromatic color schemes have a dark side, too. In ‘The Matrix’, each scene is overlaid with a greenish tint, enhancing the movie’s dreamlike dystopia. Even within the green and orange color palette, there are a lot of variations. The strongest is the contrast between the desaturated, monochromatic greens of the office, versus the later, more saturated scenes.
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Vibrant and colorful, Triadic colors are three colors arranged evenly spaced around the color wheel (i.e. red, blue and yellow). One color should be dominant and the others accented. Triadic is one of the least common movie color schemes, but it can be striking and vibrant even when the hues are unsaturated. One of directors that uses this scheme best is none other than Jean-Luc Godard.
CONTEMPT OR LE MEPRIS Director, Jean-luc Godard, has always had a love affair with colors and in ‘Contempt’ they find their expression in the triadic scheme. The scheme establishes itself early on and then saturates the screen to greater or lesser extents, but they are never overbearing or garish. Instead they are beautiful , striking, thoughtful and memorable. Orchestrated by a master to masterful effect.
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PIERROT LE FOU In ‘Pierrot Le Fou’, Godard drapes every surface in washed out primary colors; blues, reds, yellows and white, giving the film the feel of a sun-faded De Stijl painting. But of course, even by this point, such great stylization would not have surprised anyone familiar with the French New Wave filmmaker’s proto-pop art work. Comic Books, film posters, newsreels, snatches from famous books, music and camera motions are inspired by classic Hollywood, all of them gel to form an intense mixture of ideas and feeling.
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COMP LIMEN TARY
Contrasting drama (i.e. warm vs. cool). Complementary colors live opposite each other on the color wheel. For example, orange and blue are complementary colors commonly used in many blockbuster films. The dueling colors are often associated with conflict, whether internal or external. No matter the color selection, complementary colors combine warm and cool colors to produce a high-contrast, vibrant tension in the film.
LA LA LAND Director and writer Damien Chazelle’s bright, detergent-commercial colors are (like many mechanics of the movie) an homage to big Hollywood musicals of old. While being filmed in technicolor, his use of primary colors convey much about the pair of artists, and the lives they choose to lead.
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AME LIE Green is used commonly throughout Amelie largely because it is a symbol of hope and nature. In many cultures green often brings comfort to the viewer’s eyes. It’s used in the film to create vitality and to contrast with the warmer, more saturated colors. The contrasting color being red which in nature is the color of sunsets, and fire and brings visual intensity to the screen.
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ANA LOG OUS Analogous colors neighbor each other on the color wheel (i.e. red / violet or yellow / lime green). Since the colors don’t have the contrast and tension of the complementary colors, they create an overall harmonious and soothing viewing experience. Analogous colors are easy to take advantage of in landscapes and exteriors as they are often found in nature. One color can be chosen to dominate, a second to support, and a third (along with blacks, whites and grey tones) to accent.
MOON LIGHT Moonlight is an excellent example of the cooler parts of the color spectrum. Comprised of a vibrant array of blues, purples and greens. Analogous cool colors have a slightly more jarring effect. Moonlight is a movie all filmmakers should to watch if they want to learn just how to use color schemes to represent a character’s journey.
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TOKYO DRIFTER The film opens in stylized black and white, which becomes vibrant color in all subsequent scenes. There are a number of shots that feature highly contrasting objects that bring a bright primary color accent to the frame. Elements like the villain’s red suit, a red telephone, the iconic blue suit of the hero, and the red of a paper lantern contrasting against a field of snow add constant visual interest. Your eye is never let off the hook.
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TO CONCLUDE... Simply put, color can affect us emotionally, psychologically and even physically, often without us becoming aware. Color in film can build harmony or tension within a scene, or bring attention to a key themes. When chosen deliberately, a well-placed movie color palette evokes mood and sets the tone for the film. These exact same thoughts and practices can be applied to art and design. We all want to be moved emotionally, to feel connected to something or someone. Color creates meaning and insight into the story you’re telling, no matter what that story is. By paying close attention to these films and subsequently their schemes, we can better reach various audiences and help them understand our message.
Movies for Creatives Š Alyssa Stephens
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People in creative fields already have the eye for beautiful composition and aesthetically pleasing color schemes; but the overlap between artists and film is frequently overlooked. Film is virtually moving artwork, by taking some of the most compelling uses of color and compiling them, we as designers and artists can continue to look more closely to film for inspiration and admiration.