Working with Color: Bailouts and Branding

I love interviews with the press because there’s always one challenging question that requires a good answer. Last week, the interviewer asked, “How do you get your color consultation projects?” I replied that half the time, there’s a color disaster underway and someone contacts me. Typically, “the boss” has chosen his or her favorite color for the logo (or the product, packaging, etc.) and a member of the staff senses that there is something terribly wrong with the choice.

One of my recent projects is a perfect example of these color bailouts: In this case, the CEO had chosen purple for the bank’s new logo and all collateral material. The V-P questioned whether purple was appropriate and provided a list of the attributes that the logo color should communicate: simplicity, ease of access, multiple access points, state of the art technology, and ecological awareness. As for demographics, the customers ranged from GenY to Baby Boomers in the mid-west, (U.S.). Yes, she was right about her color intuition. Although purple does align itself with high technology, it would fail to address all the other critical criteria for a bank. My ten-page documentation presented an objective analysis of purple and a specification for the best color. (By the way, the nice part of this business is knowing that you can mediate a dispute with rational information – and you always gain some insights about the mysterious and compelling world of personal color preferences.)

Another situation unfolds when the color selection has been placed in the hands of the pigment or paint chemists and someone in another department raises a red flag. For example, it wasn’t very long ago that the colors for pills came out of the lab – and these colors typically had no logical connection to color communication and the consumer. Consider this: The "Golden Rule" in pharmaceuticals is to select colors that represent the cure, not the malady. Picture a grey anti-depressant tablet - and then think about what color should be avoided for a sleeping pill. (See Taking the Colors of Medications Seriously)

As for the rest of my color projects, I’m usually involved before a product is rolled out and long before there’s a problem. In recent years, golf carts, computer hardware, medications, garbage cans, and even toilet plungers have been part of the mix. However, just when it seemed that most of my focus was on branding and marketing, an architectural project arrived and I wound up analyzing paint scrapings under a microscope and specifying paint colors for a historical restoration.

The only thing that challenges me about this work is that I have to shut down my personal passions for colors and stick to objective criteria. I’ll admit that yellow has always been my favorite color and that other colors drift into my personal kaleidoscope – colors like tomato red and tender shades of teal. But this is my personal agenda and I’d never apply it to the real world of color consultation.

Shattering a Colorblind View of the Past

For nearly two centuries, scholars have been arguing that beige and white were not the true colors of antiquity. The Parthenon in Athens and the Forum in Rome might have been almost gaudy. Unfortunately, such ideas have never influenced Hollywood or many experts. For example, in "Gladiator," when Russell Crowe strides down the streets of ancient Rome, circa A.D. 180, he's backed up by the proper complement of white marble. In almost every view of the past, textbooks included, the ancient world comes off as monochrome.

A flood of recent exhibitions has put color back into the vocabulary of antiquity. Last year, "Gods in Color" in Boston and "The Color of Life" exhibition at the Getty featured multi-colored sculptural masterpieces from the Greek and Roman eras.

However, not all scholars are pleased. Of note, Fabio Barry, an art historian at the University of St. Andrews in Scotland, is not overly fond of the Prima Porta sculpture's colored reconstruction. "Can you imagine the family-values, back-to-basics, republican emperor Augustus . . . represented by something that looks like a cross-dresser trying to hail a taxi?" raves Barry, an expert on the history of marble. He insists that the Romans cherished the whiteness of fine marble as an important symbol of light and purity.

On the other hand, Getty Curator Kenneth Lapatin "For the Greeks it was all about mimesis," says, using the Greek word for realistic imitation. Beauty depended on it.

A week ago, scientists revealed something else that shatters our preconceived notions about the drab and dinghy colors of an even more distant past. A team of British and Chinese scientists found evidence that a dinosaur that lived about 125 million years ago had a feathered mohawk with orange-brown bristly feathers around its tail. By examining and comparing tiny structures (melanins) in the feathers, they found the color associated with red-brown. Source

While this colorful development in the lost world of dinosaurs is quite exciting, it will still be left up to our imaginations to create the colors of popular dinosaurs, like Tyrannosaurus rex - at least for now.

As for antiquity, we also need help visualizing and accepting a colored world of architecture and sculpture.

Perhaps this century will colorize the past in amazing ways.

A Color Heaven

Three weeks ago, I presented a seminar about color in Bermuda. I’ll admit that I’m quite spoiled by living in the color paradise of Hawaii. I’m not easily swept off my feet, but the colors of Bermuda - everything from sand to architecture - were stunning and classy, at that.

Real men wear pink - pink shirts and even pink shorts. In fact the logo on the airport terminal is a pair of pink Bermuda shorts. Aside from wearing apparel, many of the beaches are pink and so are the homes and many of the commercial buildings.

Buildings are also painted shades of blue that melt into the sky; others are lemony tints or startling salmon oranges. In fact, the buildings are every color of the spectrum - and every shade of pink.

I wonder why we tend to be so color-phobic about architecture in the U.S.? Even in tropical places like Hawaii, it’s mostly a sea of grey or beige pablum. Traditionally (and historically), the closer you get to the sea, the more colorful the buildings. It’s time for a change!