Color can be one of the most fun – and most frustrating – parts of planning a web design project. You want colors to reflect your brand, but you also want to establish a style that’s modern and trendy.
Color can set the tone for a project and connect with users immediately or fall back so that other content can carry the load. Today’s color trends lean more toward the bright, bold, in-your-face end of the spectrum with color as a dominant means of creating a memorable first impression.
There are plenty of ways to do that. We aren’t going to go into the details of creating a color palette here. (Hopefully, you understand the theories behind the color wheel for that.) What we are going to look at are color choices that are seriously on-trend so you can pick a palette that feels fresh and maybe a bit funky.
The biggest trends seem to be the return of gradients, light or white backgrounds, use of colors from the Material Design palette, Pantone’s color of the year (a perennial trend) and golden hues. Here’s a look at how to use the colors in your projects and examples of websites that have these color trends perfected already.
01. Gradients
One of the elements that disappeared when flat and Material Design came to the forefront was gradients. Thankfully, these two-tone fades are cool again.
Many of the trending gradients aren’t part of subtle textures inside elements; they are full-color overlays that fill the screen. The color choices tend to be on the brighter, bolder side with opposites on the color wheel making excellent color pairs.
The liner style gradient is most popular with a change extending from opposite corners of the screen to meet and merge in the middle. Top to bottom and corner to corner gradient styles are the most popular.
Most of the gradients we are seeing have an element of transparency as well. This is common with gradients that are used as color overlays on photos to add more visual interest. Pastel gradients are also rather popular as a background option, but without the photo overlay.
What’s nice about the gradient trend is that it can be pretty easy to incorporate into projects. You don’t have to completely redesign to use this trend. The toughest part of working with gradients can be finding just the right color combination.
If you need inspiration – or gradient-making help – try WebGradients. The site includes nearly 200 linear gradient combinations that are sure to help jump start your creativity. Many of the combinations include trendy hues so you won’t get stuck with something that looks like the gradient trend of five-plus years ago.
02. Light or White Backgrounds
Use of light or white backgrounds is one of those color trends that seems to re-emerge the minute it starts fading away. Probably because the combination is so easy to work with. And most designers and users can agree on the clean, highly readable style of a light background for darker elements.
While stark black and white was the predominant choice for a while, more backgrounds have gray or other pastel looks. But these options are so light they are almost white.
When using light backgrounds, the design might include a textured or animated element as well. The trick with this color trend is not to wipe away all the color and leave something that’s too light or doesn’t provide a focal point for users.
The other big difference in the trend now is how the rest of the design comes together within the light or white background. When minimalism was all the rage, projects came with stark backgrounds and foregrounds. This time around, the rest of the design is more robust and busy, more in line with the prevailing trend of focusing on strong content and calls to action to engage users.
03. Material Colors
A lot of good has come from Google’s Material Design documentation. It has, at a minimum, made designers think about how they do things and how design, movement and user interactions overlap.
One of the biggest visual design concepts to take off from the design philosophy are the colors associated with the style. Bright, deeply saturated hues in seemingly mismatched combinations are dominating color palettes.
And it’s a good thing.
Projects using Material Design-based colors seem to exude positivity and good vibes. The colors are engaging and fresh and counter some of the more muted trends that had been dominating design for some time.
Projects have more reds, oranges and magentas than we have seen in a long time. And they are paired with bright blues, greens and purples. (Material Design colors are also popular choices for gradients.)
Find a full set of inspirational hues for projects in HEX and RGB from Material Design Colors.
04. Pantone’s Greenery
Pantone named Greenery, more specifically 15-0343, as the color of the year in late 2016. What we’ve seen in recent years is that the color of the year is an indication of a color trend that’s emerging and is getting ready to explode.
The light, yellowish green is clean and fresh. From Pantone, the color “evokes the first days of spring when nature’s greens revive, restore and renew. Illustrative of flourishing foliage and?the lushness of the great outdoors, the fortifying attributes of Greenery signals consumers to take a deep breath, oxygenate and reinvigorate.”
From a design perspective, green is a great color choice. Green hues can be easy to use, aren’t as likely to offend as some other color choices and are highly usable.
In the examples above you can see that some of the greens are more encompassing in the design while others are reserved for strong accents and imagery. Both uses of green can be visually stunning.
Everything you need to know about Greenery, including color mixes, pallet inspiration and even Pantone Greenery gear is in one place.
05. Golden Hues
As a full-screen color option or for accents, golden hues feel regal and important. Maybe that’s why so many designs are going for gold.
While yellows are popular for designers wanting a Material Design look, golden hues are deeper, darker and less bright. The color can have a somewhat cheery feel, but most screen-based designs use darker variants to create enough contrast between the color and surrounding elements.
The darker gold has many of the same color association you would expect, as a color based on a precious metal. Gold represents wealth, grandeur and glamour. It’s also the color of courage, magic and wisdom. Use it with projects where stressing these factors is important.
Many of the designs that are using the gold color trend are for businesses that want to establish some of those messages. It hasn’t been as popular with personal websites, such as blogs or portfolios. (But that doesn’t mean you can’t try!)
The biggest challenge with gold is creating a hue that looks good on screens – it can be tough to do – without looking too dark, dirty or dingy. Too often golds turning into browns because that metallic effect isn’t easy to replicate.
Conclusion
Does your design need a fresh look? Try one of these color trends to set a need mood for a project or just bring an old design back to life.
Color trends can be easy to use, require just a few changes to your CSS in many cases and can provide instant spark. Start with a trend that makes the most of your brand or some variation of your existing color palette to make the transition as smooth as possible. Don’t be afraid to experiment. Color is supposed to be fun!
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That again was no use: he but got another smile and a friendly look of the sort he no longer wanted. I said I thought I could gallop if Harry could, and in a few minutes we were up with the ambulance. It had stopped. There were several men about it, including Sergeant Jim and Kendall, which two had come from Quinn, and having just been in the ambulance, at Ferry's side, were now remounting, both of them openly in tears. "Hello, Kendall." We have this great advantage in dealing with Plato—that his philosophical writings have come down to us entire, while the thinkers who preceded him are known only through fragments and second-hand reports. Nor is the difference merely accidental. Plato was the creator of speculative literature, properly so called: he was the first and also the greatest artist that ever clothed abstract thought in language of appropriate majesty and splendour; and it is probably to their beauty of form that we owe the preservation of his writings. Rather unfortunately, however, along with the genuine works of the master, a certain number of pieces have been handed down to us under his name, of which some are almost universally admitted to be spurious, while the authenticity of others is a question on which the best scholars are still divided. In the absence of any very cogent external evidence, an immense amount of industry and learning has been expended on this subject, and the arguments employed on both sides sometimes make us doubt whether the reasoning powers of philologists are better developed than, according to Plato, were those of mathematicians in his time. The176 two extreme positions are occupied by Grote, who accepts the whole Alexandrian canon, and Krohn, who admits nothing but the Republic;115 while much more serious critics, such as Schaarschmidt, reject along with a mass of worthless compositions several Dialogues almost equal in interest and importance to those whose authenticity has never been doubted. The great historian of Greece seems to have been rather undiscriminating both in his scepticism and in his belief; and the exclusive importance which he attributed to contemporary testimony, or to what passed for such with him, may have unduly biassed his judgment in both directions. As it happens, the authority of the canon is much weaker than Grote imagined; but even granting his extreme contention, our view of Plato’s philosophy would not be seriously affected by it, for the pieces which are rejected by all other critics have no speculative importance whatever. The case would be far different were we to agree with those who impugn the genuineness of the Parmenides, the Sophist, the Statesman, the Philêbus, and the Laws; for these compositions mark a new departure in Platonism amounting to a complete transformation of its fundamental principles, which indeed is one of the reasons why their authenticity has been denied. Apart, however, from the numerous evidences of Platonic authorship furnished by the Dialogues themselves, as well as by the indirect references to them in Aristotle’s writings, it seems utterly incredible that a thinker scarcely, if at all, inferior to the master himself—as the supposed imitator must assuredly have been—should have consented to let his reasonings pass current under a false name, and that, too, the name of one whose teaching he in some respects controverted; while there is a further difficulty in assuming that his existence could pass unnoticed at a period marked by intense literary and philosophical activity. Readers who177 wish for fuller information on the subject will find in Zeller’s pages a careful and lucid digest of the whole controversy leading to a moderately conservative conclusion. Others will doubtless be content to accept Prof. Jowett’s verdict, that ‘on the whole not a sixteenth part of the writings which pass under the name of Plato, if we exclude the works rejected by the ancients themselves, can be fairly doubted by those who are willing to allow that a considerable change and growth may have taken place in his philosophy.’116 To which we may add that the Platonic dialogues, whether the work of one or more hands, and however widely differing among themselves, together represent a single phase of thought, and are appropriately studied as a connected series. Before entering on our task, one more difficulty remains to be noticed. Plato, although the greatest master of prose composition that ever lived, and for his time a remarkably voluminous author, cherished a strong dislike for books, and even affected to regret that the art of writing had ever been invented. A man, he said, might amuse himself by putting down his ideas on paper, and might even find written178 memoranda useful for private reference, but the only instruction worth speaking of was conveyed by oral communication, which made it possible for objections unforeseen by the teacher to be freely urged and answered.117 Such had been the method of Socrates, and such was doubtless the practice of Plato himself whenever it was possible for him to set forth his philosophy by word of mouth. It has been supposed, for this reason, that the great writer did not take his own books in earnest, and wished them to be regarded as no more than the elegant recreations of a leisure hour, while his deeper and more serious thoughts were reserved for lectures and conversations, of which, beyond a few allusions in Aristotle, every record has perished. That such, however, was not the case, may be easily shown. In the first place it is evident, from the extreme pains taken by Plato to throw his philosophical expositions into conversational form, that he did not despair of providing a literary substitute for spoken dialogue. Secondly, it is a strong confirmation of this theory that Aristotle, a personal friend and pupil of Plato during many years, should so frequently refer to the Dialogues as authoritative evidences of his master’s opinions on the most important topics. And, lastly, if it can be shown that the documents in question do actually embody a comprehensive and connected view of life and of the world, we shall feel satisfied that the oral teaching of Plato, had it been preserved, would not modify in any material degree the impression conveyed by his written compositions. breakfast in the kitchen by candle-light, and then drove the five The bargaining was interminable, something in this manner:— Then follows a long discussion in Hindi with the bystanders, who always escort a foreigner in a mob, ending in the question— There was a bright I. D. blanket spread on the ground a little way back from the fire, and she threw herself down upon it. All that was picturesque in his memories of history flashed back to Cairness, as he took his place beside Landor on the log and looked at her. Boadicea might have sat so in the depths of the Icenean forests, in the light of the torches of the Druids. So the Babylonian queen might have rested in the midst of her victorious armies, or she of Palmyra, after the lion hunt in the deserts of Syria. Her eyes, red lighted beneath the shadowing lashes, met his. Then she glanced away into the blackness of the pine forest, and calling her dog to lie down beside her, stroked its silky red head. The retreat was made, and the men found themselves again in the morning on the bleak, black heath of Drummossie, hungry and worn out, yet in expectation of a battle. There was yet time to do the only wise thing—retreat into the mountains, and depend upon a guerilla warfare, in which they would have the decided advantage. Lord George Murray now earnestly proposed this, but in vain. Sir Thomas Sheridan and other officers from France grew outrageous at that proposal, contending that they could easily beat the English, as they had done at Prestonpans and Falkirk—forgetting that the Highlanders then were full of vigour and spirit. Unfortunately, Charles listened to this foolish reasoning, and the fatal die was cast. "They said they were going for our breakfast," said Harry. "And I hope it's true, for I'm hungrier'n a rip-saw. But I could put off breakfast for awhile, if they'd only bring us our guns. I hope they'll be nice Springfield rifles that'll kill a man at a mile." "Dod durn it," blubbered Pete, "I ain't cryin' bekase Pm skeered. I'm cryin' bekase I'm afeared you'll lose me. I know durned well you'll lose me yit, with all this foolin' around." He came nearly every night. If she was not at the gate he would whistle a few bars of "Rio Bay," and she would steal out as soon as she could do so without rousing suspicion. Boarzell became theirs, their accomplice in some subtle, beautiful way. There was a little hollow on the western slope where they would crouch together and sniff the apricot scent of the gorse, which was ever afterwards to be the remembrancer of their love, and watch the farmhouse lights at Castweasel gleam and gutter beside Ramstile woods. "Yes, De Boteler," continued the lady, "I will write to him, and try to soothe his humour. You think it a humiliation—I would humble myself to the meanest serf that tills your land, could I learn the fate of my child. The abbot may have power to draw from this monk what he would conceal from us; I will at least make the experiment." The lady then, though much against De Boteler's wish, penned an epistle to the abbot, in which concession and apologies were made, and a strong invitation conveyed, that he would honour Sudley castle by his presence. The parchment was then folded, and dispatched to the abbot. "A very pretty method, truly! You know not the miners and forgers of Dean Forest!—why I would stake a noble to a silver-penny, that if you had discovered he was hidden there, and legally demanded him, he would be popped down in a bucket, to the bottom of some mine, where, even the art of Master Calverley could not have dragged him to the light of day until the Forest was clear of the pack:—but, however, to speak to the point," perceiving that the steward's patience was well nigh exhausted—"I saw Stephen Holgrave yesterday, in the Forest." HoME欧美一级 片a高清
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