COOLOR by Signature31

CONTENT UPCOMING COLOR

COLOR THEORY

Rose Quarts and Serenity

A Unified Theory of Wes Anderson Movies

4 COLOR CLASSI FICATION

8 COLOR SCHEME color scheme for harry potter design direction

color coordination in harry potter wizarding world

16 EVERYDAY COLORING abit proper

COOLOR MAGAZINE CREW Editor in Cheft Waraorn Keeranan Advisor Dan Baum, Ralph Nader, Thomas Frank, Don DeLillo, Robert P. Baird, Emily Witt Editor Manager ames, Elisabeth Zerofsky, Paul Wachter Art Marilynne Robinson, Christopher Ketcham, Rivka Galchen, Stuart Franklin PR Dan Baum, Ralph Nader, Thomas Frank, Don DeLillo, Robert P. Baird, Emily Witt

Coolorâ&#x20AC;&#x2122;s Magazine 666 Broadway, 11th Floor New York, NY 10012 212-420-5720 Note: We are unable to provide phone support for problems with Harpers.org. Please see the frequently asked questions file for website help. For subscription assistance please call 1-800-444-4653.

‘Finding meaning in work like color is central to a strong corporate culture.’

EDITOR NOTE In the visual arts, color theory is a body of practical guidance to color mixing and the visual effects of a specific color combination. There are also definitions (or categories) of colors based on the color wheel: primary color, secondary color and tertiary color. Although color theory principles first appeared in the writings of Leone Battista Alberti and the notebooks of Leonardo da Vinci, a tradition of “colory theory” began in the 18th century, initially within a partisan controversy around Isaac Newton’s theory of color and the nature of primary colors. From there it developed as an independent artistic tradition with only superficial reference to colorimetry and vision science.

WARAGORN KEERANAN EDTIOR

ROSE QUARTZ 13-1520 SERENITY 15-3919

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Pantone Inc. is a corporation headquartered in Carlstadt, New Jersey.[1] The company is best known for its Pantone Matching System (PMS), a proprietary color space used in a variety of industries, primarily printing, though sometimes in the manufacture of colored paint, fabric, and plastics.

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UPCOMING COLOR story : pantone illust : Waragorn Keeranan

ROSE QUARTZ 13-1520 & SERENITY 15-3919

as a form of expression, a generation that has less concern about being typecast or judged and an open A symbolic color selection; a color exchange of digital information that snapshot of what we see taking place has opened our eyes to different apin our culture that serves as an expres- proaches to color usage sion of a mood and an attitude. A softer take on color for 2016: For the first time, the blending of two shades â&#x20AC;&#x201C; Rose Quartz and Serenity are chosen as the PANTONE Color of the Year As consumers seek mindfulness and well-being as an antidote to modern day stresses, welcoming colors that psychologically fulfill our yearning for reassurance and security are becoming more prominent. Joined together, Rose Quartz and Serenity demonstrate an inherent balance between a warmer embracing rose tone and the cooler tranquil blue, reflecting connection and wellness as well as a soothing sense of order and peace.

For the first time Pantone introduces two shades, Rose Quartz and Serenity as the PANTONE Color of the Year 2016. Rose Quartz is a persuasive yet gentle tone that conveys compassion and a sense of composure. Serenity is weightless and airy, like the expanse of the blue sky above us, bringing feelings of respite and relaxation even in turbulent times.

Whether in soft or hard surface material, the pairing of Rose Quartz and Serenity brings calm and relaxation. Appealing in all finishes, matte, metallic and glossy, the engaging combo joins easily with other mid-tones including greens and purples, rich The prevalent combination of Rose browns, and all shades of yellow and Quartz and Serenity also challenges pink. Add in silver or hot brights for traditional perceptions of color asso- more splash and sparkle. ciation. In many parts of the world we are experiencing a gender blur as it relates to fashion, which has in turn impacted color trends throughout all other areas of design. This more unilateral approach to color is coinciding with societal movements toward gender equality and fluidity, the consumerâ&#x20AC;&#x2122;s increased comfort with using color 06 | COOLOR MAGAZINE | MARCH 2016

COLOR FORMULA & GUIDES

ROSE QUARTZ AND SERENITY

COLOR FORMULA & GUIDES by PANTONE

ROSE QUARTZ PANTONE 13-1520

FASHION + HOME PANTONE 13-1520TCX

RGB for TCX R

247 202 201

CMYK for TCX C

HTML Values for TCX: F7CAC9 PANTONE Pastel 9281 C (Closest Match)

RGB for TCX R

242 221 222

CMYK for TCX C

HTML Values for TCX: F2DDDE

PANTONE 15-3919

FASHION + HOME PANTONE 15-3919TCX

RGB for TCX R

146 168 209

CMYK for TCX C

HTML Values for TCX: 92A8D1 PLUS Series 7451 C (Closest Match)

RGB for TCX R

137 171 227

CMYK for TCX C

HTML Values for TCX: 89ABE3

COLOR FORMULA & GUIDES by PANTONE

SERENITY

COLOR FORMULA & GUIDES by PANTONE

ROSE QUARTZ AND SERENITY MATCHING TUTORIAL

COLOR FORMULA & GUIDES by PANTONE

13-1520

15-3919

Joined together Rose Quartz and Serenity Demonstrate and inherent balance between a warmer embracing rose tone and the cooler tranquil blue, reflecting conection and wellness as well as a soothing sense of order and peace

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A Unified Theory of Wes Anderson Movies Story : Guest Writer Illust : Waragorn Keeranan from the original by overthinkingit.com Various writing partners have helped Wes Anderson flesh out the scripts for each of his 6 live-action films, but the finished products are Anderson’s alone. Complex, noble beasts, Anderson’s films burst with a singular creativity and style that rewards re-watching in ways great and small. His chosen themes are deeply personal, and their delivery, stylized but always in the service of the larger point, is perhaps his signature strength as a filmmaker. He is a stylist of the highest order, but his style is never without purpose. His themes are also ones to which most post-Baby Boomers can easily relate. The timing of their resonance to a given viewer’s life determines which of his films a person considers the best. Put another way, your favorite of Anderson’s movies was love at first sight. You were dealing with something, you saw his film, and right away it made you feel better. You didn’t know that you already knew what he had to say, but you did, and it only took one viewing of your favorite Anderson movie to bring that message home.

cover. They may bear similar stylistic hallmarks, but each picture focuses on a different aspect of emotional development. To wit:

its exotic locale to the lead actors’ performances. When taken from storytelling and art direction perspectives, one could argue that Darjeeling Limited is more sophisticated (some might Bottle Rocket: determining the rela- just say better) than a vast majority of tive value of close friendships to one’s contemporary movies. But it is simply best-lived life not as fun to watch as the rest of AnRushmore: growing up and coming of derson’s work, and few devotees have age without losing one’s self or mind given it anything close to the number of repeat viewings as Rushmore. Anderson has been accused of repeating himself, but his films don’t fo- This makes sense if you look at the cus on the same thing over and over above list of individual themes. One again. His different themes speak in in particular seems less fun to go back different ways to different individuals. over than the others, no? Making exisThey use the same language, but do tential emptiness lovable or winsome not tell the same tale. is no easy feat, and it’s probably not an accident that Anderson followed “Well, It’s No Rushmore” his bleakest movie with an adorable claymation children’s film based on a Of his 6 live-action movies, one is Roald Dahl novel. Fantastic Mr. Fox almost-universally pointed to as the is great, some of the best work Anleast of the bunch. The Darjeeling derson’s ever done, but it is not an Limited in many ways deserves the adult film touching on heavy emoscorn, too, as what clumsy momen- tional themes. Following Darjeeling, tum it does have turns on an obvious, he probably needed the break.

belabored plot device that Anderson should have been well past by that point in his career. Towards the film’s end, as the brothers cast aside their father’s luggage (baggage, if you will) in Every artist has his or her tool kit, and the name of running faster, even the if we see these things as such (as op- most devout fanatic had to shake her posed to, say, the limited and repet- head and say, “Come on, dude.” itive tics of a preening hack) we are then free to consider the wide-ranging That said, this movie is not without thematic territory Anderson’s films merit, from the nuanced handling of

So then, if Darjeeling Limited is everyone’s least-favorite Wes Anderson film, which one is the best? That depends entirely upon who is asked. Some people find solace in Max Fischer’s journey from annoying and arrogant little jerk in love with a teacher to slightly less annoying, somewhat-less arrogant teenager with an age-appropriate girlfriend. Steve Zissou’s

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struggle to get past his rough year resonates with anyone who’s had a bad stretch and could use some support. The young lovebirds in Moonrise Kingdom filter through the lens of perspective pleasant memories of the first time some new person set your young heart aflutter.

If you were able to dig through the delightful and interesting details to find a theme during your initial viewing of a Wes Anderson film, then as time moves on you’ll find that one to be your favorite of his live-action canon.

for its artistic promise, to the Mendl’s cake boxes that have become Atkins’ most prized possessions, creating the imaginary world of The Grand Budapest Hotel in a remote part of Germany, required incredible attention to detail from the incredibly skilled graphic designer.

As well it should be: when it came time to listen to what he had to say, Did it feel like it was a big leap going While competing with so many side Anderson showed up with exactly from an advertising job to working in details, that theme might remain inde- what you needed to hear. film? cipherable through two, three, or four viewings. Bright colors and utter goofWhen I left advertising I thought I was iness gobble up attention. Questions leaving design behind - I’d fallen out arise like “Is that Alec Baldwin?” or Now We meet annie atkins, of love with it, really, over the years. “So who is Bob Balaban supposed to I’d started thinking about writing and graphic designer of the be?” But then at some point lightning photography and filmmaking instead, strikes, a moment effects, understand- grand budapest hotel’s but when I got to film school all of a ing blossoms, and a viewer thinks, empire of zubrowka sudden a whole new world of design “Wait . . . whoa.” was opened up to me, and I loved it From designing Henry VIII’s death again. Unless, of course, a viewer picked it warrants in The Tudors to working up right off the bat, remaining fo- as lead graphic designer on the set of What’s changed since you worked on cused on the proceedings and pro- The Grand Budapest Hotel and creatcessing everything as it came without ing those pink Mendl’s boxes, Annie The Grand Budapest Hotel? distraction because everything felt so Atkins is making waves in the film inEverything! You know, I’ve been maktrue. No effort was required during dustry. ing graphic pieces for shows for years that first viewing of Rushmore to understand what Max meant towards Dublin-based graphic designer An- now, but nobody ever really showed the end when he told Miss Cross that nie Atkins worked for an advertising much interest in it before. I called it he wasn’t hurt that badly. Then she agency in Iceland before going on to “all the stuff that everybody sees and asked him to dance, and Max got the get two degrees; one in Visual Com- nobody cares about”. Now all of a DJ’s attention. “Oh La La” kicked munication and one in Film Produc- sudden the work has had a light shone in, and goose bumps rose. The room tion. Straight out of film school she on it. grew misty, and slow motion dancing got her first job, working on the set commenced among so many odd and of the third series of The Tudors, de- The way Wes used graphic design in wonderful characters with whom the signing everything from stained glass his storytelling, I think it helped peoviewer fell in love over the previous windows to medieval parchments. But ple realise that all films have graphic ninety minutes. In the end, the film it was when she got the call to head up art in them, it’s just that they never delivered its goods right on time for her first feature film - Wes Anderson’s noticed it before. Now I’m getting that viewer, and the buzzy feeling re- The Grand Budapest Hotel - that her invitations to travel around the world and talk about my job - it’s crazy. sulting is something close to magic. work got thrown into the spotlight. From the map praised by M. Gustave 12 | COOLOR MAGAZINE | MARCH 2016

What was it like working with Wes erence from the time. The bank notes making shows in tones that audiencare a good example actually - I re- es assume are realistic - just because Anderson? The whole thing was fantastic. Living with his cast and crew for the winter was like living inside one of his movies. He took us all to this little town, Gorlitz, on the German-Polish border. You could literally walk across a footbridge and have lunch in Poland on your day off.

Working on The Grand Budapest Hotel’s fictional world meant recreating everything, from bank notes to stamps. Did that give you more creative freedom, rather than other projects where you were in a specific time period? Yes, it’s a fictional world, so that was fun, but we actually started every graphic piece by looking at a real ref-

member working on a TV drama set in the 19th century where I made very large banknotes (they would have been three times the size of modern banknotes at the time), but the director didn’t want to shoot them because he felt they were comically large - even though they were historically accurate.

they’re so used to seeing faded old sepia photographs from the time. It’s one of the reasons I loved working with Wes and his production designer Adam Stockhausen so much - it was all so colourful and playful, but also rooted in reality.

On The Grand Budapest, Wes really embraced these differences. We were always studying how things had been created differently back in the day, rather than making assumptions. That was fascinating to me. So many period shows I work on, the first thing you’re told is that everything should be muted and sepia toned. It’s a shame, because design around the turn of the last century was so colourful and vivid and we’re writing it out of history by MARCH 2016 | COOLOR MAGAZINE | 13

COLOR CLASSIFICATION story : J.K.Rowling illust : Waragorn Keeranan

In The Wizarding World of Harry Potter Colors contain many combination to communicate by it non-lingistic action. The Author ‘J.K.Rowling’ Anylyzed all its meaning for hooking you to her expression. These is all about her theory in using Colors in Harry Potter Series.

color coordination in

HARRY POTTER

J.K. Rowling thought Witches and wizards often reveal themselves to each other in public by wearing purple or green, often in combination. In Britain (and much of Europe) purple has an association with both royalty and religion. Purple dyes, being costly, were once worn only by those who could afford them; bishops’ rings are traditionally set with amethysts. Green has long had a supernatural connection in the UK. Superstition says that it ought to be worn with care; the fairies are supposedly possessive of it, as it is their proper colour. It ought never to be worn at weddings, due to a further association with misfortune 14 | COOLOR MAGAZINE | MARCH 2016

wizarding world

and death. Green is the colour of much ‘Dark’ magic; of the ‘Dark Mark’, of the luminescent potion in which Voldemort conceals one of his Horcruxes, of many ‘Dark’ spells and curses, and of Slytherin house. The combination of purple and green, therefore, is suggestive of both sides of magic: the noble and the ignoble, the helpful and the destructive.

Colors Classification : House sorted in Wizarding School Dormitory The Sorting is like an classification occurs by an individual identities . The four Hogwarts houses have a loose association with the four elements, and their colours were chosen accordingly. Gryffindor (red and gold) is connected to fire; Slytherin (green and silver) to water; Hufflepuff (yellow and black, representing wheat and soil) to earth; and Ravenclaw (blue and bronze; sky and eagle feathers) to air. According to that Classification

All the student stuff like Uniform ,Robe and Scarf is using color basedd on the dormitories(Houses) Colors ,Two Pararelle Lines for Cardigan and Also two thick lines for scarf (this is the 2000 designs for the current design they use two thin line on the solid main color.) These All base on the British Royal color tone which mean each color with drop by shading this will make it more luxury and magic.

Personalities and Tone Colours like peach and salmon pink are distinctly un-magical, and therefore much favoured by the likes of Aunt Petunia. On the other hand, shocking pink, as sported by the likes of Nymphadora Tonks, conveys a certain punky ‘yes, I’ve got

a Muggle-born father and I’m not named them for the alchemical coashamed of it’ attitude. lours to convey their opposing but complementary natures: red meaning passion (or emotion); white for Color as The Personal asceticism; Hagrid being the earthy, Naming warm and physical man, lord of Colours also played their part in the the forest; Dumbledore the spirinaming of Hagrid and Dumble- tual theoretician, brilliant, idealised dore, whose first names are Rubeus and somewhat detached. Each is a (red) and Albus (white) respective- necessary counterpoint to the othly. The choice was a nod to alche- er as Harry seeks father figures in my, which is so important in the his new world. first Harry Potter book, where ‘the red’ and ‘the white’ are essential mystical components of the process. The symbolism of the colours in this context has mystic meaning, representing different stages of the alchemic process (which many people associate with a spiritual transformation). Where my two characters were concerned, I

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COLOR SCHEME story : Jessica Hobbs illust : pottermore.com

Johanna tells us, ‘but it wasn’t always as easy as that. We made our decisions on colour by asking ourselves a series of questions, essentially a giant flow chart.

Johanna Drewe is design director of a company called Studio Output. She’s clever with colours and pictures and all that. Johanna and her design team had the extremely intricate task of colouring wizarding world.

‘We realised pretty early on that some characters had an obvious colour. Some had many colours you could attribute to them and some had nothing distinguishable about them, or were featured too little in the books and Now, it sounds simple: choosing films to have a colour specifically for which colour each Character should them. be. There are only seven colours in the rainbow so just pick one, right? Not quite. What colour do you think Garrick Ollivander’s identity should be? Or the one for Basilisks, King’s Cross or a Pensieve?

‘Has it been described by J.K. Rowling either in the books or on pottermore. com?’ If the answer was yes, then the specific colour is attributed. If the answer was no, we went on to ask: ‘Is it a material? Does it have a distinguishable character? Is it in a group? Does it have House allegiance?’ Each of these answers led to a range of colours we had created.’

Not quite so simple, huh? Getting the design right on something as beloved as the wizarding world is a meticulous business. Can you possibly imagine, for a moment, the delight and terror of such a task? It’s the kind of thing that calls for a clear, simple graph… ‘Obviously we had the books and films as incredible, rich references,’

COLOR SCH

HAR POT

DESIGN D

Color Wheel Using for Art Direction made by Johanna and Her crew from pottermore.com 16 | COOLOR MAGAZINE | MARCH 2016

‘For example Harry nearly always wears blue in the films, which I hadn’t noticed until we interviewed one of the costume designers, Laurent Guinci, and legendary production designer Stuart Craig, who designed the sets for all the Harry Potter films. Harry was almost sorted into Slytherin, but chose Gryffindor.

The priority, as always, was to stay ‘The hardest characters to choose cotrue to J.K. Rowling’s vision. lours for were Harry, Ron and Hermione. Their importance made us How do you choose a colour feel they should be given their own specific colour but interestingly they for Harry Potter? aren’t really described as wearing any With some difficulty, as it one colour in the book. And by pickturns out. And great caution. ing just one, you are in danger of upsetting people,’ says Johanna, correctly identifying how mad we’d all be if ‘His life was dark and traumatic and he Ron ended up with a brown page for had a deep connection to Voldemort. no good reason at all. Should he be in Gryffindor colours? Should he be blue, because he’s seen in it so often? Should he be green, because of the colour of his eyes or his connection with Voldemort?’

HEME FOR

RRY TTER

The decision was made: Harry ended up with a lovely Gryffindor-coloured page. Every Hogwarts student is matched with their house colour. You probably won’t be able to un-notice that now. So, there you have it: the colour scheme of the wizarding world. Spend enough time delving into it and you’ll begin to realise what a mammoth and magical job it has been bringing Harry Potter’s world to life.

DIRECTION

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EVERYDAY COLORING story : J.K.Rowling illust : Waragorn Keeranan

this issue weâ&#x20AC;&#x2122;ll talking a bout the profession look by using the color tone of a nerd and knowledge guy it can be adapted in your everyday look with out the informal issue.

start with kind of semi-formal look matching tone of calm and hot royal red make it more proper and professional this look will lead you to be more smarter and seem like wisdom guy. blue tone is meaning of knowledge, too. so recommended this look for your job register or seminar will be cool.

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ABIT PROPER

this old look coming with the colorful of red and green but the balancing between opposite mood of color making it calm and cool . the feeling of this tone is balancing not too warm or not too cool so it will be better for your mental health which make you more relax.

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PMS-2945

what is your pantone