Tuesday, October 29, 2013
Monday, April 1, 2013
Mobile Apps: Advice for Illustrators
The use of illustration for mobile apps is widespread. I see plenty of jobs from the Directory of Illustration for mobile apps. Some pay a whole lot of moolah!
We're hearing about mobile app jobs for just about everything and every industry. Some of these projects assigned to illustrators have amazing budgets and some are more mediocre but nevertheless the popularity of mobile applications has continued to rise, as their usage has become increasingly prevalent across mobile phone users. The illustrations used in apps are user friendly, addictive and extremely interactive.
The public demand and the availability of developer tools drove rapid expansion into a lot of categories, such as mobile games, factory automation, GPS and location-based services, banking, order-tracking, and ticket purchases,.apps for personal finance, teaching kids, dating, food guides, medical apps, apps for the gym - they have done it all.
Check out the Windows Phone for Apps & Games and EVERY visual is illustration.
We're hearing about mobile app jobs for just about everything and every industry. Some of these projects assigned to illustrators have amazing budgets and some are more mediocre but nevertheless the popularity of mobile applications has continued to rise, as their usage has become increasingly prevalent across mobile phone users. The illustrations used in apps are user friendly, addictive and extremely interactive.
The public demand and the availability of developer tools drove rapid expansion into a lot of categories, such as mobile games, factory automation, GPS and location-based services, banking, order-tracking, and ticket purchases,.apps for personal finance, teaching kids, dating, food guides, medical apps, apps for the gym - they have done it all.
Check out the Windows Phone for Apps & Games and EVERY visual is illustration.
"Look beyond the software and take
a moment for the hardware, how it is used, who the demographic is, where
it is used and why it is used. Create with context. In illustration it's all in
the details and do not spare them. This is not your 72dpi flip phone anymore,
smartphone resolution is higher than ever, the iPhone 5 for example displays at
326 dpi.
With that, so many apps rely on the
vector clip art and rarely do you see anything organic and truly unique. An app
designed/illustrated by an artist has it's place as long as you keep the user
experience in mind because
no matter how cool you make it look, if it is hard to use it will not be used.
Push your partnerships with shops by
knowing product limitations. A lot of application development companies
outsource the cool stuff. This is your chance to do more than artwork framed in
a clean gray box. Look at apps, play with them, know that whatever you want to
do can most likely be done.
Create so the application is art rather
than a frame of your art and always keep the user experience in-mind.
Tip: Think about new or existing apps
and rebuild them visually into an app portfolio based on your creative style.
Look up some of the hot application development companies like Bottle Rocket
Apps (large) or SlimPixel (small) and start sending your work. This will be a
unique find for shops and you might be surprised at the response. Show them
what they have not thought of and be creative. Companies are looking for unique
ways to enter the flooded marketplace, be that unique answer."
~ Ryan
Whisnehunt
 |
| © Infomen / Début Art as seen on DirectoryofIllustration.com portfolio |
 |
| Picasa for mobile
Image by Tom Chitty as seen on Directory of Illustration.com Interactive in-store display illustration for Google mobile apps |
 |
| Whisenhunt Design example of organic app design with function |
Keeping Clients Coming Back - advice from creative services consultant Maria Piscopo
How illustrators can best work with designers and art directors
Once you have a chance at a job with a new client or a big job for a current client, there is a tendency to rush through the standard business practices. Don’t do it, especially with new clients. Illustrators often feel if they are “easy” on the client on the first job, the client will decide to stay and give them more work. Not necessarily true; all it does is set you up for an unhealthy relationship. The way to build healthy and profitable relationships with clients and turn jobs into repeat business is to use good business practices dealing with client projects. Here are some client project issues that will come up with your illustration jobs, and some tips on how to deal with them to develop and maintain a strong relationship thus encouraging clients to keep coming back with more work.
The Deadline
This is a very delicate subject in any job with any client. Many illustrators feel if they meet a miraculous and unreasonable deadline, the client will “love them”. Unfortunately, all that will do is ensure the client will always give you jobs with not enough time to get them done properly in the future! Every client has a deadline horror story to tell that makes them wary of giving accurate information on this point. The best bet is to ask the kind of questions designed to help the client feel more comfortable with your ability to meet their deadlines. Instead of asking, "When do you want this job done?" as this is much too subjective a question, ask for more objective and measurable information such as, "When will the website with these illustrations launch?” Look behind the stated deadline. By breaking the delivery into a series of benchmarks on a timeline, both you and your client will feel more in control of the process (and they will feel safer coming back for more).
The Specific Need
Be sure to find out what specific problem this illustration project is supposed to solve. The more accurate a statement from the client of their goals and objective, the better opportunity you have to meet it. Meeting the client’s goal, whether it is for traffic-building website illustrations or a sales-building package illustration, will always give you a better chance that they will come back again.
The Approvals
This is another touchy subject between any client and illustrator. Sometimes, you both are caught in nightmarish scenarios where everyone responsible loves the ideas and then someone with a higher authority shoots it down. Do the most you can to protect yourself and your client: be a team. Find out how many people need to approve the project. Who are they? How do they relate to this project? Where are they? How many electronic file transfers vs. overnight deliveries are involved? Will there be personal consultations with you or will your client make the presentations for you?
Also, be sure to distinguish between subjective and objective approvals. Subjective is someone's opinion and should be given only to the highest level of authority, i.e., is this the color background they had in mind? You could say that subjective approvals represent the aesthetics and are a “matter of taste”. Note how different this is from an objective approval, which is a measurable determination of accuracy—such as the correct number of subjects or the correct size of the product in the illustration. You want to maximize the objective approvals and minimize the subjective approvals to get the job done and make the client happy.
Cathie Bleck of Cathie Bleck Illustration, www.cathiebleck.com, gives five “core values” as keys to repeat business, “Reliability, intelligent solutions, originality, quality assurance, and treating them with respect.” Also, Cathie likes to get to know her clients, “on a personal level, and strive to keep an open and honest dialog between us. Keeping it friendly so to speak allows them the ability to feel that I am approachable on the project or any future projects, even if I don't get the job. I usually try to ask them in the bidding process who I am bidding against and what factors might determine the decision? We may start a dialog from here or another question regarding what I might be able to offer them that might make my service unique to the project.”
Handling Conflict
Finally, your skill in handling conflicts with clients will determine whether your relationship will prosper or end. It is important to know that conflict is not bad. In fact, it is natural and inevitable and you cannot avoid it. What matters is how you choose to manage the conflicts that will arise, and maintain a relationship characterized by integrity, and open communication to achieve the “win-win” that keeps clients loyal.
Cathie Bleck suggests,“I have very few conflicts with clients, but when I do I try to be direct without being negative. Pointing a finger at the problem and not them will hopefully preserve the relationship for the future. Putting the agreement in writing from the beginning of the project serves to alleviate most communication problems.”
Today's competitive marketplace justifies a closer look at how illustrators look at their relationships with clients. On the client's side, the same market factors dictate a new importance and evaluation of their relationships with their illustrators. The more you learn and study the relationship between the creative and the client, the better chance you have of getting the job, and then turning that job into a client and a long-term relationship!
Maria Piscopo www.mpiscopo.com is a creative services consultant, an art/photo rep and marketing workshop instructor specializing in effective and creative marketing strategies delivered in her business and self-promotion classes, keynotes, seminars and workshops for associations, schools and photo industry conferences. She is currently an instructor at the Academy of Art University in San Francisco and a reviewer for www.eyeist.com
Maria will be speaking in Seattle on May 23rd for the ASMP and Seattle illustrators group. This is one of the best workshops you could attend - highly informative - about pricing your work. She will repeat her new 2 hour workshop that she premiered at ICON ‘Taking Charge of What You Charge’
If you're in or near Seattle - please don't miss it! You'll thank me later!
Once you have a chance at a job with a new client or a big job for a current client, there is a tendency to rush through the standard business practices. Don’t do it, especially with new clients. Illustrators often feel if they are “easy” on the client on the first job, the client will decide to stay and give them more work. Not necessarily true; all it does is set you up for an unhealthy relationship. The way to build healthy and profitable relationships with clients and turn jobs into repeat business is to use good business practices dealing with client projects. Here are some client project issues that will come up with your illustration jobs, and some tips on how to deal with them to develop and maintain a strong relationship thus encouraging clients to keep coming back with more work.
The Deadline
This is a very delicate subject in any job with any client. Many illustrators feel if they meet a miraculous and unreasonable deadline, the client will “love them”. Unfortunately, all that will do is ensure the client will always give you jobs with not enough time to get them done properly in the future! Every client has a deadline horror story to tell that makes them wary of giving accurate information on this point. The best bet is to ask the kind of questions designed to help the client feel more comfortable with your ability to meet their deadlines. Instead of asking, "When do you want this job done?" as this is much too subjective a question, ask for more objective and measurable information such as, "When will the website with these illustrations launch?” Look behind the stated deadline. By breaking the delivery into a series of benchmarks on a timeline, both you and your client will feel more in control of the process (and they will feel safer coming back for more).
The Specific Need
Be sure to find out what specific problem this illustration project is supposed to solve. The more accurate a statement from the client of their goals and objective, the better opportunity you have to meet it. Meeting the client’s goal, whether it is for traffic-building website illustrations or a sales-building package illustration, will always give you a better chance that they will come back again.
The Approvals
This is another touchy subject between any client and illustrator. Sometimes, you both are caught in nightmarish scenarios where everyone responsible loves the ideas and then someone with a higher authority shoots it down. Do the most you can to protect yourself and your client: be a team. Find out how many people need to approve the project. Who are they? How do they relate to this project? Where are they? How many electronic file transfers vs. overnight deliveries are involved? Will there be personal consultations with you or will your client make the presentations for you?
Also, be sure to distinguish between subjective and objective approvals. Subjective is someone's opinion and should be given only to the highest level of authority, i.e., is this the color background they had in mind? You could say that subjective approvals represent the aesthetics and are a “matter of taste”. Note how different this is from an objective approval, which is a measurable determination of accuracy—such as the correct number of subjects or the correct size of the product in the illustration. You want to maximize the objective approvals and minimize the subjective approvals to get the job done and make the client happy.
Cathie Bleck of Cathie Bleck Illustration, www.cathiebleck.com, gives five “core values” as keys to repeat business, “Reliability, intelligent solutions, originality, quality assurance, and treating them with respect.” Also, Cathie likes to get to know her clients, “on a personal level, and strive to keep an open and honest dialog between us. Keeping it friendly so to speak allows them the ability to feel that I am approachable on the project or any future projects, even if I don't get the job. I usually try to ask them in the bidding process who I am bidding against and what factors might determine the decision? We may start a dialog from here or another question regarding what I might be able to offer them that might make my service unique to the project.”
Handling Conflict
Finally, your skill in handling conflicts with clients will determine whether your relationship will prosper or end. It is important to know that conflict is not bad. In fact, it is natural and inevitable and you cannot avoid it. What matters is how you choose to manage the conflicts that will arise, and maintain a relationship characterized by integrity, and open communication to achieve the “win-win” that keeps clients loyal.
Cathie Bleck suggests,“I have very few conflicts with clients, but when I do I try to be direct without being negative. Pointing a finger at the problem and not them will hopefully preserve the relationship for the future. Putting the agreement in writing from the beginning of the project serves to alleviate most communication problems.”
Today's competitive marketplace justifies a closer look at how illustrators look at their relationships with clients. On the client's side, the same market factors dictate a new importance and evaluation of their relationships with their illustrators. The more you learn and study the relationship between the creative and the client, the better chance you have of getting the job, and then turning that job into a client and a long-term relationship!
Maria Piscopo www.mpiscopo.com is a creative services consultant, an art/photo rep and marketing workshop instructor specializing in effective and creative marketing strategies delivered in her business and self-promotion classes, keynotes, seminars and workshops for associations, schools and photo industry conferences. She is currently an instructor at the Academy of Art University in San Francisco and a reviewer for www.eyeist.com
Maria will be speaking in Seattle on May 23rd for the ASMP and Seattle illustrators group. This is one of the best workshops you could attend - highly informative - about pricing your work. She will repeat her new 2 hour workshop that she premiered at ICON ‘Taking Charge of What You Charge’
If you're in or near Seattle - please don't miss it! You'll thank me later!
 |
| from Norm Bendell's portfolio on DirectoryofIllustration.com (represented by David Goldman) |
 |
| from Val Bochkov's portfolio on DirectoryofIllustration.com |
Sunday, March 17, 2013
What Illustrators Say About Finding and Keeping Clients
Conversations with many illustrators remind me that the market is still competitive - however here's what some illustrators
say about finding and keeping clients:
~ Art buyers focus on talented artists who can solve a visual problem. Clients want to COLLABORATE WITH YOU - clients are not always focused on style.
~ Illustrators get work from many places. VISIBILITY everywhere is key!
~ Active illustrators got rid of old assumptions and zeroed in on strategies that would grab market share and won some of the new business that exists.
~ Illustrators moved from high maintenance/low margin clients that are an impediment on their time to opportunities and clients that have become more profitable - producing a healthier bottom line.
~ Illustrators embraced industries that have money to spend while staying focused on their dream projects.
~ Illustrators improved and upgraded their skills - whether traditional, digital, 2D, 3D and/or motion.
~ Illustrators combine traditional graphic design AND illustration skills to create concept driven illustrative design and lettering work.
~ Illustrators learned how to turn work around and deliver it quicker in 3 formats: print, internet and iPad/Smartphone.
~ Active illustrators expand their network. They grow and FIND NEW MARKETS.
Wednesday, January 16, 2013
Drawing in the Digital Age by Gerard Huerta
Illustrator, type and brand designer Gerard Huerta has created some of the most visible and recognizable mastheads, logos, magazine and album covers. You'll recognize his work...
He's a creative who loves to draw each and every letter making them unique and personal for each individual client's solution.
I love him not only because he is so talented but because he also likes to share his knowledge, skill and expertise with other creatives. Keep in mind that all of his artwork is custom drawn before it sees the computer.
When we spoke recently he offered to share his keen insight about "Drawing in the Digital Age". If you love letterforms - you'll love this...
"I do not reminisce about the days when I didn’t have my computer. The ease of executing vector-based artwork does not make me long for my Rapidiograph pen, and all of my artwork is prepared digitally. But the initial stage of drawing is where almost all of my basic lettering design decisions are made, and that is well before anything finds its way into the
Mac.
Since I draw all of my letters and always have, the process of visualizing something in my mind and then sketching it out allows for a unique and personal solution. This is based upon my ability to draw. I don’t begin with a font. Font design requires a different discipline from logo design. A good font is one in which all letters must work harmoniously with each other, regardless of which letter ends up next to which. It is for this very reason that I find using fonts somewhat limiting in my own work. Drawing allows me the freedom to customize a letter depending on its immediate and permanant neighbor. If I were to select a font as a starting point for a logo design, my creative possibilities would be minimized. In drawing the reverse happens: what if I put serifs on it? What if the first letter was script? Why don't we tuck the leg of the “R” under the “T”? What if the baseline were curved? It is an editing process based on a mental/visual/physical action.
The rock'n'roll concert posters of the 1960s are wonderful examples of drawing in this fashion. The uninhibited letter forms were created to pay as much attention to the shapes between the letters as the letters and counters themselves. Equalizing the relative weight of the negative shapes sometimes compromised legibility. But because the letter forms were hand-drawn a wonderful typographic pattern was created that was fun, curvaceous and musical.
The process of drawing for me is one of wonderful discovery. The pencil moves in a motion creating a combination of curves and straights, slow and fast. I see my mental images beginning to take shape before me as I guide my pencil. I sometimes feel as if the drawing is already in the paper and my pencil is simply detecting the forms embedded there. The practice of drawing not only helps me achieve more control over my newly created visual; more importantly, it continues to develop my ability to see.
My drawings have gotten smaller over the years; this, in part, because of better drawing ability, but also it is more efficient to work small. In the pre-digital age my drawings were about half the size of the final inked artwork, but being able to alter the working size in the computer has greatly changed my drawing and, obviously, execution style. Although my drawings can be looser and smaller, I always go to the computer with a drawing that contains most of the information I need to properly execute a final or a comp. In that sketch almost all of the creativity has already taken place."
For more about Gerard Huerta visit these recent interviews:
He's a creative who loves to draw each and every letter making them unique and personal for each individual client's solution.
I love him not only because he is so talented but because he also likes to share his knowledge, skill and expertise with other creatives. Keep in mind that all of his artwork is custom drawn before it sees the computer.
When we spoke recently he offered to share his keen insight about "Drawing in the Digital Age". If you love letterforms - you'll love this...
"I do not reminisce about the days when I didn’t have my computer. The ease of executing vector-based artwork does not make me long for my Rapidiograph pen, and all of my artwork is prepared digitally. But the initial stage of drawing is where almost all of my basic lettering design decisions are made, and that is well before anything finds its way into the
Mac.
Since I draw all of my letters and always have, the process of visualizing something in my mind and then sketching it out allows for a unique and personal solution. This is based upon my ability to draw. I don’t begin with a font. Font design requires a different discipline from logo design. A good font is one in which all letters must work harmoniously with each other, regardless of which letter ends up next to which. It is for this very reason that I find using fonts somewhat limiting in my own work. Drawing allows me the freedom to customize a letter depending on its immediate and permanant neighbor. If I were to select a font as a starting point for a logo design, my creative possibilities would be minimized. In drawing the reverse happens: what if I put serifs on it? What if the first letter was script? Why don't we tuck the leg of the “R” under the “T”? What if the baseline were curved? It is an editing process based on a mental/visual/physical action.
The rock'n'roll concert posters of the 1960s are wonderful examples of drawing in this fashion. The uninhibited letter forms were created to pay as much attention to the shapes between the letters as the letters and counters themselves. Equalizing the relative weight of the negative shapes sometimes compromised legibility. But because the letter forms were hand-drawn a wonderful typographic pattern was created that was fun, curvaceous and musical.
The process of drawing for me is one of wonderful discovery. The pencil moves in a motion creating a combination of curves and straights, slow and fast. I see my mental images beginning to take shape before me as I guide my pencil. I sometimes feel as if the drawing is already in the paper and my pencil is simply detecting the forms embedded there. The practice of drawing not only helps me achieve more control over my newly created visual; more importantly, it continues to develop my ability to see.
My drawings have gotten smaller over the years; this, in part, because of better drawing ability, but also it is more efficient to work small. In the pre-digital age my drawings were about half the size of the final inked artwork, but being able to alter the working size in the computer has greatly changed my drawing and, obviously, execution style. Although my drawings can be looser and smaller, I always go to the computer with a drawing that contains most of the information I need to properly execute a final or a comp. In that sketch almost all of the creativity has already taken place."
For more about Gerard Huerta visit these recent interviews:
The Man Behind the Logos — Smashing Interviews Magazine
and Gerard Huerta gives shape, meaning to the letters that matterSunday, January 13, 2013
Tips For Communicating With A Difficult Client
At some point in your career you may stumble into a troublesome client. How will you handle the situation? Knowing what you want out of the situation and your ability to communicate professionally will determine the outcome of your productivity and success...and impress upon future opportunities with this client or their referrals.
You'll find clients of all kinds knocking on your internet door. Some understand technology, some don't. Some have worked with illustrators before, some haven't. Some offer the rate up front, most won't. No matter what their experience - you must be professional enough to find out what contributions you will be expected to bring to the project.
Communication is important...clear communication is critical.
~ Start with and keep a great attitude and positive approach. Every email, phone call and/or meeting must be met with openness to listen to and learn the client's needs. Ultimately the client needs you to solve a visual problem.
~ Find out what the client is really looking for. If you don't understand what the client is asking of you - politely ask for clarification. Don't assume anything. Don't be afraid to ask questions. Assuming something can waste precious time.
~ If a client gets pushy or assertive - stay calm - often the pressure is coming from within their organization or the client may not understand your abilities or industry language.
~ Can you renegotiate if a project gets more involved than the scope of the project that was originally discussed? If you can re-discuss this it will diminish both of your frustrations and increase efficiency of the project.
~ Communicate clearly and concisely, especially in an email. No need for long emails. State what you want right away...and one issue per email please.
~ Collaborate - most clients want you to make contributions based on your experience and creativity. They're not just hiring you for style.
~ Enlighten your clients when you feel that your approach is better for their outcome. Compromise when necessary. It will make the project easier to finish.
~ Be able to back your suggestions up with proven examples to support your decisions and direction.
~ Follow up all conversation in writing to recap what was discussed and refer to when needed so there are no misunderstandings. This will save time in the long run. Clients love it when you're organized.
~ Engage your clients with questions to express their thoughts and visual ideas and get them talking about their project. This is where you can really have fun with them.
~ Keep all communications open. If they impose on your productivity give them a time frame when you will be ready to show them what you're working on. If you know you'll be done by 3 pm that day, let then know you'll be in touch by 5 pm. This gives you enough time to tweak any changes, politely informs your client and keeps them in the loop.
You'll find clients of all kinds knocking on your internet door. Some understand technology, some don't. Some have worked with illustrators before, some haven't. Some offer the rate up front, most won't. No matter what their experience - you must be professional enough to find out what contributions you will be expected to bring to the project.
Communication is important...clear communication is critical.
 |
| from Boris Lyubner's portfolio - www.DirectoryofIllustration.com |
~ Start with and keep a great attitude and positive approach. Every email, phone call and/or meeting must be met with openness to listen to and learn the client's needs. Ultimately the client needs you to solve a visual problem.
~ Find out what the client is really looking for. If you don't understand what the client is asking of you - politely ask for clarification. Don't assume anything. Don't be afraid to ask questions. Assuming something can waste precious time.
 |
| from Adam Niklewicz's portfolio - www.DirectoryofIllustration.com |
~ If a client gets pushy or assertive - stay calm - often the pressure is coming from within their organization or the client may not understand your abilities or industry language.
~ Can you renegotiate if a project gets more involved than the scope of the project that was originally discussed? If you can re-discuss this it will diminish both of your frustrations and increase efficiency of the project.
 |
| from J.T. Morrow's portfolio - www.DirectoryofIllustration.com |
~ Communicate clearly and concisely, especially in an email. No need for long emails. State what you want right away...and one issue per email please.
~ Collaborate - most clients want you to make contributions based on your experience and creativity. They're not just hiring you for style.
~ Enlighten your clients when you feel that your approach is better for their outcome. Compromise when necessary. It will make the project easier to finish.
 |
| from Marcel Ceuppen' portfolio - www.DirectoryofIllustration.com |
~ Be able to back your suggestions up with proven examples to support your decisions and direction.
~ Follow up all conversation in writing to recap what was discussed and refer to when needed so there are no misunderstandings. This will save time in the long run. Clients love it when you're organized.
~ Engage your clients with questions to express their thoughts and visual ideas and get them talking about their project. This is where you can really have fun with them.
~ Keep all communications open. If they impose on your productivity give them a time frame when you will be ready to show them what you're working on. If you know you'll be done by 3 pm that day, let then know you'll be in touch by 5 pm. This gives you enough time to tweak any changes, politely informs your client and keeps them in the loop.
Thursday, December 20, 2012
Emerald: 2013 Pantone Color of the Year
Emerald: 2013 Pantone Color of the Year
As we begin the weeks of end-of-the-year countdowns and “Best of...” lists, Pantone is Tangerine Tango-ing out of 2012 and introducing us to our new favorite color: Emerald . 
This emerald green color swatch released by Pantone is Pantone LLC's Color of the Year for 2013, beating out all the other shades of the rainbow. (AP)
How did Pantone land on this hue to forever represent 2013? We’re sure to hear many theories in the next few months, which will probably range from: The color reminds us of simpler things such as grass and Mother Nature...Green is the color of growth and signifies America in 2013...The rich tone is all about luxury, just like jewels and money.... Whichever theory you prefer, Pantone is describing the choice as, “Lively. Radiant. Lush...A color of elegance and beauty that enhances our sense of well-being, balance and harmony.”
That nice, but what does it mean for you? It’s time to visit Emerald City. Whether it’s your wardrobe or your living room, here are some tips for embracing emerald:
-Lively and radiant: Just like in nature, greens look good with bright colors. Pair it with bold yellows and oranges for an energizing jolt.
Fashion from the Spring 2013 collection of Nanette Lepore in New York. (Bebeto Matthews - AP)
-Lush: Emerald is a jewel tone. Take a hint from jewelry counters and mix it with rich purples, blues, reds, black and golds.
A gown from the Zac Posen Spring 2013 collection during Fashion Week in New York. (John Minchillo - AP)
-Balance and harmony: Embrace the zen of emerald by pairing it with grays, whites and muted yellows or blues.
Skyla Freeman's 425 square foot studio apartment in Washington D. C. features the Pantone 2013 color of the year. The crisp white accents pop against the office walls. (Katherine Frey - THE WASHINGTON POST)
And if you’re looking to find emerald for a bargain? Check out the after-Christmas sales, the red-and-green holiday is sure to leave lots of green up for grabs.
This emerald green color swatch released by Pantone is Pantone LLC's Color of the Year for 2013, beating out all the other shades of the rainbow. (AP)
How did Pantone land on this hue to forever represent 2013? We’re sure to hear many theories in the next few months, which will probably range from: The color reminds us of simpler things such as grass and Mother Nature...Green is the color of growth and signifies America in 2013...The rich tone is all about luxury, just like jewels and money.... Whichever theory you prefer, Pantone is describing the choice as, “Lively. Radiant. Lush...A color of elegance and beauty that enhances our sense of well-being, balance and harmony.”
That nice, but what does it mean for you? It’s time to visit Emerald City. Whether it’s your wardrobe or your living room, here are some tips for embracing emerald:
-Lively and radiant: Just like in nature, greens look good with bright colors. Pair it with bold yellows and oranges for an energizing jolt.
Fashion from the Spring 2013 collection of Nanette Lepore in New York. (Bebeto Matthews - AP)
-Lush: Emerald is a jewel tone. Take a hint from jewelry counters and mix it with rich purples, blues, reds, black and golds.
A gown from the Zac Posen Spring 2013 collection during Fashion Week in New York. (John Minchillo - AP)
-Balance and harmony: Embrace the zen of emerald by pairing it with grays, whites and muted yellows or blues.
Skyla Freeman's 425 square foot studio apartment in Washington D. C. features the Pantone 2013 color of the year. The crisp white accents pop against the office walls. (Katherine Frey - THE WASHINGTON POST)
And if you’re looking to find emerald for a bargain? Check out the after-Christmas sales, the red-and-green holiday is sure to leave lots of green up for grabs.
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