Thank you to everyone who voted in my cover test. This time, I’m trying two short previews of DCS 654: my library of 654 dessert-inspired colors and matching textures, with ready-made palettes for your own design work.
Which video makes you more curious to explore the library: A or B?
In my INKFLESH identity work, the wordmark runs off the can's curve and gets partly hidden behind artwork on posters. That crop asks the rest of the identity to carry more recognition. The mark has a job when the name is only partly there.
Same flower house, same layout. We only took the color out.
1. Full color. The iridescent petals do the selling: lilac, pink, a little shimmer. The photo is the brand, and every accent on the page borrows from it.
2. Monochrome. No color at all. Shape, texture and typography have to carry everything, and the page suddenly reads like a gallery catalogue.
Color sells the flower. Monochrome sells the exhibition.
The problem with monochrome is that, throughout computer history, it has conditioned users to associate gray and monochrome with being disabled, dysfunctional, or something to ignore and avoid.