Transcripts
1. Intro: Hi. My name's Claire Picard. I'm an illustrator with more than 20 years experience in the design industry. My background is primarily in fashion and trends, and I have a passion for finding new and novel color combinations use in my illustration work. I write in films, my first explore color class here on SkillShare 18 months ago, which was all about seeking out color, where to look for it and creating a color journal to document inspiration and to grow in confidence when using color. It was so popular, I was amazed, and it started up lots of conversations with my students about further development of color and how to use it when applying it to your own illustration work. I decided to write a second class all about exploring and updating traditional color palettes for commercial seasonal things. In this class, you'll learn to grow your confidence in creating color palettes, developing your previous color sketchbook practice, for those of you who did my first class, and you'll learn also how to update traditional color palettes in exciting ways for commercial seasonal themes such as Christmas, Halloween, or Easter, and create your own color boards to work from. You learn also how to apply these updated novel colors to your own illustration work so that everything pops and you'll create art that will wow art directors and how pure work stand out from the crowd. Also in this class, I will share with you my own personal overview of current color trends across the whole industry of design, from fashion through to interior design trends. You'll also have full access to eight full color boards, two per season, developed by me for you to use freely if you so wish in your own illustration work. I'll also be sharing with you key illustration work by a range of other artists and illustrators to demonstrate how color can be applied successfully to seasonal themes in a new and exciting way. When I started out in this creative industry, I didn't really have an opinion about color, I didn't know how to look for exciting combinations, and I found it difficult to be precise about color for commercial things. I'm going to show you here what matters, really, is your own vision or color, how you use it in your work that will create novelty to a potential buyer's eye. The project part of this class comes in two parts, so you can pick and choose what is more useful for you. Firstly, I'll invite you create your own update on a seasonal color board, and secondly, I'll invite you to accompany it with a piece of illustration work that you develop from it. You can do both parts of the project or just one part. If you're a beginner and you are less confident in developing your color stories, you're welcome to start with the ones I've suggested here and develop your own art from them. I myself will be joining in and sharing my own project work developed from the color boards I show you here too, so please feel free to give me some feedback too. All the color boards that you'll see here, have been sourced from Pinterest, so you can easily find the origin of an image on my specially dedicated Pinterest board. Please use my boards freely for your own work, but please don't share them publicly anywhere else. Join me on this exciting second journey into exploring color. Glad to have you here.
2. Updating Colour: Current Colour Trends: What has been happening recently in color trends? We have to ask ourselves this question before we can get to grips with creating new and inspiring color palettes. Because without looking around us and identifying a few key color trends, we are unable to create new alternatives in color combinations. For those of you who have already watched my first explore color class, you'll recall how I talked about the importance of the growth of gray tones in interiors, and it's strong influence and inclusion in color palettes for all product categories. It's definitely a solid neutral color, which has stood the test of time, and it's still going strong. But gray has got bolder over time, moving from pale, neutral, pretty gray through to more grown-up brazen shades of dark charcoal or elephant. Whether it is pale, it is now teamed with warmer shades of sand, stone washed linen, need skin tens canvas wood and hand. With this warmer outlook for the grays a new color to consider as an accent for gray pallets or indeed to use as part of the neutrals going forward is warm camel or tobacco. The strong influence of mid-century furniture styles and interiors have led this warm would color to the forefront and many camel tones are now starting to be seen. Think retro design styles with warm ancient roots, mid-century design meets desert modernism with soft sand colors mixing with bold monochrome and modern, traditional Mexican motifs. Terracotta is also a spin-off accent from this warm, retro look, Pantone esteemed camera with caviar black, burgundy, gray, and white for sophisticated, elegant palette shown Williams color. The year 2019 is also caramel. Interior magazines or highlighting caramels are trending neutral with mentions of spiced honey and salted caramel. It can be really luxurious or it can be nomadic. It sits alongside gray to add warmth and escalate luxury impact. Or it can be tamed with dark blue or dark tale for a warm, retro sophisticated feel. Talking of dark blue, we continue along that mid-century path. In my first color class, I mentioned that dark blue had become a staple for statement walls in interior design. Well it's still going strong, but it's developed and it's starting to be shown up by dark tale, petrol blue-green, chocolate and varying shades of almost black. Dark greens have bluish undertones which carry on our yearnings for beautiful, exquisite darks. Think peacocks. Take a look also at the de-luxe paint color of the year 2019, which is called Night Watch, and beautiful dark green gray shade. Blue is definitely an important color. Going forward, we're starting to see denim hues with grayish undertones or foreign ball and bears paint color of the year for 2019 is called blueprint, a classic mature denim blue. These blues and dark greens are also showing up with caramel chocolate and gold for a retro show of color. Another big green trend to watch is olive. A rich, warm olive green is taking a stand with a barely venued pink or better still, a bluish, pale pink to add an unexpected turn into the mix. These colors update the peach and teal combination from a few seasons ago. Farrow and ball have released a new tone of warm olive too. Last but not least, there's a move towards spicy reds, deep pinky oranges and purple tones. Pantone picks them out as colors for 2019 and makes an allusion to fetish foods. Farrow ball have added a deep dark red to their paint range. Pantone's fashion colors include Fiesta red, rich orangey tomato red. Coral is still going strong. Turmeric orange teams with yellow also complete the brights. Let's not forget last December's announcement of ultraviolet as Pantone color the year for 2018, which has of course inspired warmer purple hues towards the end of the year.
3. Updating Colour: Autumn: Starting with what is often the warmest color part of year, traditional autumnal color palettes often include oranges, rusts, black, chocolate, and purple hues to cater for the Halloween and thanksgiving occasion markets. This time of year, alongside and in the run-ups of Christmas, is incredibly important for designers who work in the illustration, greetings card, or product design businesses. Color is essential to evoke certain feelings of the change in the seasons, and autumn is a great place to start because it is so different in traditional color than the precedent summer season. Keeping in mind all the influences we have talked about in the previous chapter, I have worked for us in a Norton palette, which does not include real orange. I wanted to show you how this season can be represented in a very sophisticated way, in a very beautiful and subtle grown-up way. This first color board includes the beautiful warm olive shades and teams them with that brittle green. It includes a mixture of colder move and purple hues and teams them alongside heather and pinch with a rusted coral and bright och-re for accents which will add shuttle pop. This is very rich pallet which continues our fascination for dark, mysterious colors right now and lends itself well to colors which prepares for the winter. It's also very warming. It's an earthy palette, because of its softness and rich cozy. I wanted to show you this color palette first because it includes the most mid-century influences but because you will also see many of these colors cropping up in other seasonal palettes that I will suggest to you. But represented in different ways where they have a completely different relevance. He who have enough shades of green, purply pink, and rusts and burn oranges to use as main color grams with the paler shades creating light and the 2x sometimes lifting the palette. Try combining the dark and light teal colors with the pale pink, dark skin and warmer shades of olive, with the bright och-re for accent, or perhaps the heather and purple shades with the olive and orch-re with a burn coral for axon. This is a beautiful sludgy palette to get to grips with. Imagine floral bouquets printed on valley Olin in grams, delicate press flowers nearing the end of their lifespans, autumn leaves and faded hydro ranges. It's rich and dark and autumnal take on the colors of a fading world. It is not sad or boring. Because of its woman lighter tone such as the peachy pink sand and parallel apple green. It is very painterly palette and it leads us beautifully into the Christmas season because of its richness. You could try developing this autumnal color scheme for Christmas palette also. Now take a look at this startlingly different take on autumn. This is far more upbeat, fresh and young, but it still includes boom attain such as rust peach and brown och-re, which lead the whole pallet feeling positive and very happy. There's of course a real orange in here for this time, for Halloween. But the purple turns are not bright. They are borderline gray, making the palette far more sophisticated than a traditional Halloween palette. The dark elephant gray is very modern next to the bright orange. But teamed with the soft, chalky pesto pitch, the palate is very beautiful. Modern brides and harder grays are softened here by the pale green. The upbeat peach, and the bright bluish pink. Think brights and pastals together alongside the more traditional Halloween colors. I want to show you this wonderful illustration by Harriet Mellor. I have chosen to show this piece because I think it demonstrates very well the use of a truly novel color scheme for all term. It's muted yet bright at the same time with retro undertones. Although very different from any of the autumnal color palettes that I've developed here for you. This shows how other color options and combinations for autumn can be applied in much the same way. The yellows, peachy, orange, burnt och-re, and mauve are the true colors of autumn here, placed right up front in the foreground of the illustration. But they are soft yet either bright or muted tones sitting alongside one another. It's a duck egg and the cream which jumping and balance out the mix with the cream highlighting and bringing to life the flowers and the duck, adding a cooler tone, contrast in amongst all that warmth of color and all of that upon a very dark gray blue background color, which is so on trend right now. Notice how Harriet, she has also created a layered effect by choosing a paler version of the dark blue background to add middle-ground wisps of foliage. Adds depth to the whole piece. Soft autumnal turns on colder dots really, really works well here. Please check out Harriet's Instagram feed for more beautiful, beautiful color combinations.
4. Updating Colour:Christmas : Christmas is one of the most important seasons for products and paper, tabletops, ceramics and gift design. It's one of the hardest color palettes to update because traditional colors sell so well. The trick here is to substitute the key Christmas colors with modern on trend equivalents, and by adding in options to make the palette look perhaps either retro, contemporary, or young and cute, you could almost fill in the blank. The color options you add will be defined by your take on Christmas. But remember to keep the color palette upbeat and happy, no one wants to buy a depressing Christmas card. First of all, moving on from Autumn, take a look at this. I'm calling this antiqued because the colors are old and retro, but the mix is actually very modern. Remember our rich dark palette update on Autumn which didn't include a real orange. This is an update on a traditional color palette for Christmas, which doesn't include a real red. It has reddish options, all three of which suggests red, especially when used alongside each other, but real red is not in there at all. This is how you create novelty in a color group and update traditional colors. Instead, I've put a coral red alongside a dark rich bordeaux and thrown in rose tone also. Metallics have been big in recent years and rose gold or bronze stones are still hot. Foiling on hot and cold press treatments are massive Christmas products. Don't forget to include these options in your Christmas color palettes. If you're an artist, get out your metallic pens and use metallics as acts and colors too. Now take a look at those greens, there are plenty of options in here to represent Christmas foliage, and is the mix of bluish greens of varying tone, combined with the warm olive and moss, which adds the novelty here. That pow turk was really lift all the greenish used by adding the pop. What is new about this color palette? Apart from what we've already mentioned, there is also a beautiful pale pink tone in there which will soften and warm the palette. Notice also that I've included in here that very important camel shade, which is strongly developing, especially important alongside the pink. The deep dark chocolate is also very warming, and makes for a perfect cameo of harmonized colors with the pink and camel in the middle of all those greens. You have plenty of lighter tones in there too for contrast, including two different grays, which are still important going forward. Think rich velvets, metallic surfaces, glitter highlights on warm, pretty colors. This color scheme for Christmas inspires a new take on Christmas foliage, translucidity of color, perhaps through layering or glass effects on bobbles, vintage colors with modern fresher pops of pearl, turquoise, and coral. It's a modern take on an antiqued color palette. Moving onto another take on Christmas colors, I've created this bright, very upbeat contemporary palette in contrast to the last one. This has a very modern yet mid-century feel to it, with that light orange, the emerald and and burnt amber shade. It's quite a primary take on Christmas, yet it is also reminiscent of mid-century Christmas colors. What excites me here is that gorgeous, real bright red on that peach ground. That is really novel and new for festive design. Again, look at that red with that really dark petrol green and how the peach lifts it when placed alongside. This is really something I get excited about. There are a lot of peach and pink tones in here to play around with, and the orange and red really offset them. The greens are again important here, not just because green has been important over the last year or two, but also because it's an essential traditional color for Christmas pallets. But look closely, these are all very beautiful shades of real greens. There is an emerald two jade light and dark, dark apple, and a yellowy green. There is nothing subtle about them, they are all equally robust. What makes the difference? Look at that sand color in there with them. These balances the whole lot out because it throws a spanner in the works in some ways. It is warmish, but it's in no way primary. It is a beautiful sludge in a sea of brights. That is where it shouts out modernity to me. You get the same effect with a warm peach in amongst the cooler pinks and primary reds. This color palette isn't for the faint hearted, but it's so happy, it can be updated for younger cuter styles or very sophisticated, modern takes on Christmas. It's really a very celebratory palette. This is an example of a Christmas card illustration I've created myself based on similar colors to the color palette before. I want to show you here how I would use the pallette, but of course, you could also work from a very different point of view regarding color using the same color palette. I chose to use the alluring peach as my background color, because it is so on trend and less used for traditional Christmas illustration. I also wanted something very feminine and I liked that it is an unexpected shade for a Christmas card. As a Christmas palette needs to be upbeat. I also find this shade of peach, quite uplifting and easy to work on top of with bolder brighter shades of color. I suppose you could say it's a good background for a bursting pop of color. You may like to experiment with using a paler green background shade from the palette as an alternative. I wanted that soft ground. I wanted a burst of unashamed colors starting in the middle with that structural point setter. It is also at the very forefront of the design. It's the top layer, if you like. But underneath that you get all those layers of green, the very dark almost black leaves for graphical punch, in amongst all those green hues from emerald through to warm apple, set alongside the colder tones of jade and aqua. Building up different shades of green in this way adds to the layered effect of the bouquet's leaves. It's as if the red point setter has just been plot right on top. Layering color is a great way to add in more tones for extra depth to an illustration, especially when updating and traditional Christmas palette, where the colors which sell can be quite dictating. I think the warm cold mix of shades is just what adds interest here as well and indeed to any color palette. It is also the placement on the page of each color which establishes if an artist's palette works in a balanced way too. White is also used here to lighten it and give an upbeat feel to the design. Why not try all of those brights and interesting shades of lighter green onto a truly modern sophisticated dark green background. Rather in the way of the illustration piece I showed to you by Harriet Miller in the last chapter. Try working on a luscious dark, dark blue or dark green ground and adding the lighter and brighter pinks and reds on top. This look is very untrained considering the enormous amounts of dark grounds we're experimenting with in our interiors right now. Important though is to remember to make it pop. Art directors want new ideas, a new take on color, a new point of view, but it will not sell if it doesn't look new on trend or most importantly, upbeat.
5. Updating Colour: Spring:Easter: Spring color palettes are important because they set the tone for the rest of the summer. They represent the first show of color as the sunrise it's head and everyone gets excited when new spring mangers hurdle into the shops. After the long length of winter, spring products and their colors offer a new excitement to consumer. So color has to be fresh new and have the wow factor. Traditional palettes have included fresh yellows and greens, whites of course, mauve or pale darken blue are also favorite traditional colors for spring and Easter product ranges. If you want to do anything new here, you really have to get creative and focus on representing a new point of view on color or tell a new story for people to get excited about. Take a look at this share beauty palette which I've created for spring. I love the freshness of this as it really jumps up at you. It's very precise, honed in pallet, concentrated around just shades of green, all important yellow and traditional neutrals. All the key trend forward colors are there, lemon, yellow, olive, and tail. But the novelty comes again from the mix. Look at those fresh tones which pop against the soft trend driven new neutrals such as camel, toffee, hot chocolate and sand. This is not only a novel and new idea of how to approach a spring palette, but it is also a fabulous new take on traditional neutral palettes, which can no longer be just about a few nice shades together in a cameo of colors. Notice how the mint green pop is more of a power jade. Mint green is the key color going forward, but it's bold of representation here has newness and makes the shade stand out in a far more unusual way. Teamed with soft and moon pinkish camel, the mix is sophisticated and it really sinks. The bulb mixture of all those varying green tones is also rather new here, but it gives depth and allows you to build up layers of color on middle grounds. Imagine here a series of illustrations of young birds or beautiful daffodil studies or even play for rabbits or chicks. Try experimenting with this pallet by adding one more color into the mix to give you more popping options such as perhaps highest him too deep Cornflower blue. One fantastic illustrated who's known for our beautiful command of yellow within a color palette is Dylan Ms. Lewinski, who is also, by the way, a talk teacher here on Skillshare. So please check out some of our classes. Take a look at her Instagram feed too, as it truly is beautiful in terms of color and illustration. Her use of color is very novel and new because it's restrained, often only focusing on two or three colors at a time. Yet, it certainly has the wow effect. I loved the way she places two colors alongside each other that grappled for attention because they are often similar in intensity, but they stand out from each other because one is often warm, the other colder, throwing the micks off balance and creating something unusual. I love the way she uses peachy Hughes and bright blue, red, yellow, my personal favorite shade alongside each other. She has some fascinating work which incorporates also that on trend favorite camel, how greens, a sludgy and olivine or their silver gray, but they're always with that yellow punch, which illustrates a wonderful way to use the Schubert palette developed here before. The way she works on just several Hughes together for her series are illustrated letters. It's a wonderful way to experiment with color palettes for an illustrator by focusing on what works together without too many shades to start with. As you build a collection of focus color work of several pieces, you're able to build up an unusual color palette of several Hughes and growing confidence with your color use. Please check out Dylan's Instagram feed for a wonderful insight into her world of color. You will not be disappointed. Let's look more closely at a spring palette, which also sets us up for some are quite nicely. I've called this The Grand Budapest Hotel because the colors are like a recolored farm. They are not natural in the slightest. They are almost overexposed, yet beautiful in their own right. They are rather strangely competing next to each other in brightness, but they are softened by the lighter equivalence, all sitting together in the same palette. There's the ever important yellow again, and a deeper darker lemon counterparts sitting alongside and a soft mustard green developing on from the yellows. Last December, so Pantene announcing ultraviolet as its color for the year. It's a strong contender. Trend food pallets still now, but it doesn't have to be the exact shade. Eleven months on, we're seeing strong retro purplish aids having their day. Hyacinth Lambda and Lambda indigo are growing in popularity and make refreshing boat alternative to traditional spring pastels. Teaming these bluish, colder towns of mid purple with warmer HEPA pink, bright pink and Pashto barely then you'd. The overall look of this panel evokes a playful Pastor Brian option that we haven't seen in a while. It's daring yet it's clever and it has the possibility be very bold or very pretty. Think foxglove staff flowers, garden themed illustrations with a '70s retro feel or contemporary geometrics on Easter eggs. The sheer solidness of these broader pastels are fantastic for causing us there on the sprinkler front because prints forgive wrapped paper or textiles for a flat graphic color shapes are really fresh and exciting here in these colors. This raucous color palette for spring sets us up nicely for full summer also, as its easy to continue to develop this palette way into summer by making it warmer and mixing it in different ways.
6. Updating Colour: Summer: Moving on from that last very colorful springboard, this summerboard develops similar colors. This is a kind of amalgam of Mexico meets Miami. It has an American West pneumatic feeling It embraces '80s influences and chic color blocking in an unashamed bursts of color. I'm really excited about this because it embraces color in a controlled way and it develops old purple hues and turns our focus to that very vibrant blue. I believe real Klein blue will make a big impact sometime soon. Keep an eye on the development of blue. As I get a feeling, we'll be seeing more of it and in many times. We haven't really seen this bright, real blue in quite a while. But used alongside that magenta, we see color flashes reminiscent of the 1980s. What makes it new here though, is that it's a softer look, teamed with warm terracotta, peach, and och-re. Yet again, those are very important shades and can be cooled down in intensity by the move and light Jade options represented here, less shouting out at you. Pink and blue is kind of the new pink and green combination for me. Look at that real blue on that bright lavender. I find that really inspiring. Think traditional Mexican woven textiles with geometric lines mixed with re-colored to lotso prints and color blocking. New geometrics are a great way to start exploring with this color palette for summer. But I also find mixing prints and interesting idea. Think about Frida Kahlo's hidden wardrobe which has just been unveiled in London. How could that be developed here in these colors with '80s influences. A wonderful surface patent designer who has a whole range of beautiful products with her art on, is Kitty Macoll [phonetic]. I discovered her on Instagram of more quite a while back. Check out her Instagram feed if you're inspired by the Rio Grande color board. Because Kitty's style illustrates beautifully the possibilities of mixing '80s style geometrics and flowers together in the same print with bold flashes of color, teamed with more muted tones. It's a real feast for the eyes. This second Summer palette that I've developed here is a new take on a very popular and traditionally commercial theme for this season. You may like to take a trend or theme that you know to be important in commercial design world and rework the colors traditionally associated with it for your class project instead of developing personal color boards for just a particular season. Which is why I wanted to develop this here. Nautical are massive summer theme which has stood the test of time, perhaps because they always popular in tours indulge in regional retail outlets or simply because the nautical theme has become in its own right, a true classic commercial trend. But it needs updating. So the art directors get excited about this theme once again. Blues are important going forward as I've previously mentioned. But we have to find a new angle for their use. A new color story when presenting a nautical concept. These palettes softens immediately traditional nautical colors because it has pings, peaches and coffee turns mixed in. Skin tones are hugely important right now. As you would have noticed, their inclusion in many of the other color palettes represented in this class. From barely then new turn, sweet blush pinks and then darker tones of tan coffee and chocolate. It's a great way to update blue and white. This color scheme is very retro take on the holiday season, inspired by vintage seaside posters and '50s imagery. Prints are generic but done in new ways. Look at the hand painted, watery bloom white poke dot or the overlapped colored dots just underneath. The traditional bloom white nautical stripe is also addressed. Dark blue and cream or hand painted, again in a soft done in blue and teamed with cafe ole. You'll see similarities too with the way in which the red tone put here primarily to add a pop. Imitates the way in which we've represented red in the first Christmas board, in that it is not a true read at all. It's an orangey deep coral tone, far more sophisticated alongside those Peach and coffee tones. Other key accent color here is one of the many blues. Look at the brighter blue hue leaning towards more thyme that gives an option to use a combination of blues and then to have one blue as a key accent color at equal appeal to the coral red. Once again, the colors evogue a mid-century feel. It's a warm unisex palette which can be seen in many interiors right now. I've again, included an oaky yellow into this mix, which is unusual for nautical palettes that can be very evocative of sandy beaches or yellow Macintosh seafarers codes. So the palette also works for many nautical theme angles. Whether you're inspired by fishing icons or swimming beauties, this palette should appeal to many. I want to share with you some lovely work by Eulalia Mejia, who's color work I have admired for a long time. In his two pieces, she illustrates beautifully and very simply how just a few shades in a palette can work together. She combines the mustard, camel and coffee shades beautifully alongside the blue hues. Look at how she combines the blues together with the dark petro- greens and adds a flutter of that red for accent right in the center of the image, bringing the color focused straight onto that mops beautifully patterned back. In the same way, she also uses the red pop of color around the cat's neck here. Again, drawing the focus into the center of the piece. Much like Dylan Mies Minsky does, Eulalia chooses here to focus on two main core colors and their variations with an added pop of color. You can see more of Eulalia's beautiful color work on our Instagram feed.
7. Crafting Colour Novelty: A Recipe for Success: Let's just recap on how to apply color to illustration work in a fresh way. What's the recipe for exciting, updated color palettes for Christmas, Halloween, Easter or indeed Valentine's Day or Thanksgiving. Ultimately it's for me about crafting novelty through color. But how do we do that as artists? Well, first of all, are your colors on trend? Do your colors offer an update on a trend full of grip with colors. For example, do you remember seeing strong neon colors at the forefront a couple years ago? They were huge, but they've gotten softer and been updated and renewed with softer coral shades over recent times alongside the blush pinks. How would you update a trend forward tone? What is the next step in your opinion? What if you were to choose or to take a chance on a color we haven't seen in a while? There I say it on an hour of fashion color pop. Does your color scheme pop? Your whole palette has to have the element of surprise. Is there a splash of unusual color in there somewhere? Have you included enough acts and colors? Do you have enough tonal shades to build up the background, mid, and foreground layers of color in your illustration work? Is the overall color scheme balanced with a good mix of warm and cold shades, light and dark tones in exciting old ways? Is the contrast of your colors exciting? Finally, think of your color scheme as a story. What is the feeling you want to convey through your version of an old term no palette, for example. There are no right or wrong answers, only your vision and your opinion. All these elements and questions to ask yourselves are fundamental in creating an updated seasonal color palette an exciting new artwork spinning off from it. Novelty ultimately creates the shock of the new.
8. The Class Project and Final Thoughts: The project part of this class is in two parts. You can pick and choose or work on both. Firstly, I'd like to invite each make seasonal colorboards of your own relevant to the key commercial theme. You might explore Halloween, thanksgiving, Christmas, valentine's day, mother's day, Easter, spring, summer, or Father's day. You can work on as many or as few colors as you like. Just follow your instincts and feel comfortable about your color story. Equally, if you don't feel totally comfortable developing your own color palette, you're welcome to use any of the colorboards I've laid out for you here as a starting point for your illustration work. Please present the colorboards here in the project section of the class. If you have any questions along the way, please don't hesitate to ask for advice in the discussions. For part two of the project, I would like to invite you to create a piece of artwork which shows how you would use your color story in an illustration around the chosen theme. The subject matter could be good towards any product sector. Repeat pattern for textiles, geometrics, or it could be a placement piece or book illustration. The choice will come down to your own personal style. I'm happy to give guidance partway through if you need it. I can't wait to see what will come from all these color love. Alternatively, if you prefer to skip part one of the project, you can also use any of the colorboards presented here. I've prepared for you as a starting point for a seasonal illustration. I'd love to see you interpretation of them. Please update your project when you're illustration is ready if you want to share your work also on social media than please feel free to do so, but remember to tag me in @ CLAIRE PICARD DESIGN so I can comment, and like your post and please at the hashtag CLAIREPICARDSKILLSHARE. I will also be using the colorboards have represented here to you for each season as the basis for some personal work, which I will also endeavor to post in the project section and share with you. I'd love some feedback too. So that's it. Have you enjoyed the second follow-up class? All about learning how to update and create novelty and your color palettes for the different commercial seasons. I hope that any work that you do from this will get snapped up by art directors. Please let me know if that does happen because I'd love to know and I'm sure the others would too. If you haven't done my first class about creating a college now and looking for color inspiration. I'd love to see that too the classes were hand in hand but you can also do one or the other without having to do both, if that makes sense. But please remember there's no right or wrong to this process at all about updating traditional color palettes. It's really about substituting traditional colors, for on trend replacement colors in really unusual combinations. It is indeed providing a substitute color that we haven't seen for a while and building an interesting story around it as well. Remember too by focusing on your use of color, you can also build on your visual branding as an artist on social media platforms such as Pinterest or Instagram. I'll leave that out there like that for you to contemplate. Anyway, thank you so much and hopefully I'll see you again soon. Bye.
Claire Picard, Illustrator
