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tag:webdesign.tutsplus.com,2005:/categories/color Envato Tuts+ Web Design - Color 2018-08-27T14:20:19Z tag:webdesign.tutsplus.com,2005:PostPresenter/cms-31744 Kickstarting a Web Design Using an Image as a Base
In this short tutorial I'm going to show you one of my favorite shortcuts for kickstarting a web design. This is a method I've used a lot in freelance design, and it will really help you get over that initial hurdle where you need to work out what the color scheme and overall "feel" will be.

This technique is simple, but it's not necessarily obvious until you've been through the process a couple of times. It all starts by selecting the perfect image. So with that said, let's dive in!

Watch the Screencast

Selecting an Image

As mentioned, it all starts with an image. Something which is connected to the website you're designing. I'll often use Unsplash because it's awesom, but the volume of inspirational photos now available on Envato Elements is also excellent.

Pick something relevant, but something which also contains colors which you can imagine will suit your project well. If you're designing something for an established business, you may need to stay within branding requirements, in which case this whole process will work just as well using a logo as the starting point.

Here's the image I'll be starting with, by Kyler Trautner (it's beautiful, and gives us a range of balanced colors):

Iceland

You can see the blueish black from the tarmac, plus what will be an orange hue from the tundra if we bump up the saturation, plus what appears to be gray but is actually a shade of blue from the low-lying cloud.

Importing an Image into Adobe XD

I have the image downloaded and saved, so now I'm going to open up Adobe XD (which just happens to be my tool of choice in this instance, you can use something which is more familiar to you if you prefer).

Go to File > Import and select the image to bring it onto your canvas. Resize it as you see fit.

Picking Colors

By placing UI objects on the canvas, we can then take the color picker and fill each one with shades from our image.

For example:

Place a body rectangle to serve as the background, then give it a "medium" shade from the tarmac.

Create another rectangle for the main wrapper element, then give it a darker shade from the road.

Add a shadow to that same wrapper element, and give it a suitably matching dark blue/gray shade.

A pale sky color will suit a page element underneath the image.

The same applies to text, some of which will need to be dark on light, and vice versa.

This is what I have so far:

Contrasting UI Elements

Let's now use some contrasting orange hues for some buttons. Place some button rectangles on the page and pick a beige/orange hue from the scrub beside the road.

The initial effect is almost "dull", so using the Fill selection tool drag the picker up and to the right to increase the saturation.

Try the same with a contrasting blue color too, for a secondary button.

Conclusion

From just one suitable image you can kick off a whole color scheme and the basis of a complete web design.

The example you've been following is taken from an upcoming course entitled "Code-Friendly Design With Adobe XD" so keep an eye out for that!

If you're interested in color theory you may also want to check out these other learning resources:

Color Theory

Color for Attention and Depth in 60 Seconds

Kezz Bracey

Color Theory

6 Beginner "Safety First" Color Guidelines for the Web

Kezz Bracey

Accessibility

Accessibility Basics: Designing for Visual Impairment

Graeme Fulton

Kids

Web Design for Kids: Color

Joni Trythall

 2018-08-27T14:20:19.636Z 2018-08-27T14:20:19.636Z Kezz Bracey tag:webdesign.tutsplus.com,2005:PostPresenter/cms-31436 Quick Tip: Create a Color Scheme From an Image
In this quick tip I'm going to demonstrate something really useful, a technique I use regularly: how to create a color scheme from an image.

Watch the Screencast

Why might you need this? Imagine, for example, that you're doing some design work (web design, or print, or whatever) and it's for something seasonal, like an event which takes place in autumn (or "fall", depending on where you're from). You could attempt to blindly create a seasonal color scheme based on your experience, or you could use the colors from a specifically "autumnal" image. After all, Mother Nature is a superb artist.

Using an online tool called HueSnap, that's what we're going to do.

HueSnap

As soon as you visit the tool, right off the bat you can choose from a huge selection of color schemes:

To create your own click Create Palette, then upload an image from your computer. Once your image is uploaded you can click areas of the image to pick colors from it–you'll be given the hex and the RGB values of whatever pixel you clicked. When you're happy with your color, hit the plus (+) button and that color will be added to your scheme.

Continue adding colors to your scheme by clicking on the image and confirming whenever you're happy with what's chosen. When you're finished, you can save your scheme, though you will need to be logged in–either sign in, or create an account if needed.

You can alter your saved scheme, or create other schemes based on the colors you've selected. All in all, this is a quick and useful tool which will save you a lot of time if you're in need of some color inspiration!

Useful Links

huesnap.com

The FRUITY palette we created

Color

Blending Modes in CSS: Color Theory and Practical Application

Jonathan Cutrell

Sketch

A Guide to Blending Modes in Sketch

Adi Purdila

CSS

How to Apply Instagram Filters in the Browser Using Pure CSS

Adi Purdila

 2018-07-02T15:34:37.000Z 2018-07-02T15:34:37.000Z Adi Purdila tag:webdesign.tutsplus.com,2005:PostPresenter/cms-30033 How to Create a Color Font With Adobe Illustrator and Fontself Maker

What You'll Be Creating

I'm going to show you how to create a color font. Creating fonts has never been so fast, fun and easy as with Fontself, a powerful extension for Adobe Illustrator and Photoshop CC. In this tutorial, you'll learn how to make a color font.

Fontself allows you to create a fully functional font with all the bells and whistles that most professional fonts have (kerning, ligatures, etc.), and the most exciting thing about it is that it helps you to create a color font! You can make your imagination go wild and add any shapes and colors you want (including gradients and other effects) to your characters.

Apart from creating color fonts, that can be used in Adobe Photoshop CC 2017/2018 and Adobe Illustrator CC 2018, you can use Fontself to create standard "non-color" vector fonts that can be used in any other software like older versions of Adobe CC apps, CS6, Microsoft Word, and many others.

Can't wait to try it out?

Thousands of creatives from Adobe, Google, Apple, Microsoft and other well-known companies already use Fontself. What is also cool about it is that it is 100% indie software that was created by three passionate developers with a goal of bringing us a user-friendly font creation tool. And they made it!

Let's go through the whole process of creating and using our own color font in Adobe Illustrator CC 2018 and Fontself Maker!

 1. How to Draw the Letter A

Step 1

When I'm creating a font from scratch, I usually start by depicting a general idea. This time I decided to create a font in a colorful line-art style.

I started with a rough sketch of every letter, trying to make each of them unique yet preserving the overall style. I'll be using this sketch as a guide for the outlines that we'll be making in Adobe Illustrator.

Please note that Fontself Maker works with Adobe Illustrator CC 2015.3 and newer but to use color fonts you'll need CC 2018 so don't forget to update if you haven't done so yet!

Step 2

Begin by creating a New Document of desired size in RGB Color Mode. If you select other Color Mode, all colors will be turned to RGB even if defined in CMYK or if the document in the CMYK color space. You can learn more about color space in Fontself from their help page.

Let's start with the letter A. Take the Polygon Tool (you can find it in the same drop-down menu as the Rectangle Tool (M)) and single-click anywhere on the Artboard. Set the number of Sides to 3 and make a triangle.

Set its Fill color to None and its Stroke color to dark purple in the Color panel. Now, in the Stroke panel (Window > Stroke), set the Weight to 2.5 pt and Cap to Round Cap.

Now we can delete the bottom part of the shape that we don't need. Take the Direct Selection Tool (A) and click the bottom edge of the triangle. Hit the Delete key (or Backspace if you're on a Mac) to delete it.

Step 3

Select the shape with the Selection Tool (V) and hit Enter to open the Move window. Set the Horizontal value to 25 px and Vertical to 0 px, and click Copy to duplicate the shape and move it to the right.

Step 4

Keeping both shapes selected, take the Shape Builder Tool (Shift-M), hold down Alt, and click the piece on the right to delete it.

Step 5

Copy the first shape and resize it to make a tiny triangle. Place it at the bottom, creating the feather of an arrow. Select the shape, hold down Alt, and drag it up to create a copy. Add two more copies and attach them along the left edge of the triangle.

Group (Control-G) the created elements of the feather and double-click the Reflect Tool (O). Select the Vertical Axis and click Copy to flip the shape to the opposite side.

Step 6

Take the Ellipse Tool (L), hold down Shift, and make a 10 x 10 px circle with dark-blue Stroke and turquoise Fill color.

Tip: Use the Eyedropper Tool (I) to pick the fill or stroke color or any appearance settings and apply them to other objects. You can access the options of the Eyedropper Tool (I) by double-clicking it in the Tools panel, and then you can tick the settings that you want to pick and apply.

Step 7

Copy the stroke by selecting it and dragging to the side while holding Alt. Use the Pen Tool (P) to add an anchor point in the middle of the line. Then use the Delete Anchor Point Tool (-) to delete the point on top of the stroke.

Step 8

Take the Pen Tool (P) or the Line Segment Tool (\) and hold Shift to make a horizontal line across the letter. This is going to be the bar of the letter A.

Copy (Control-C > Control-F) the stroke and drag it down. Make it shorter by moving the points with the Direct Selection Tool (A).

Step 9

Now use the Pen Tool (P) to create a zigzag line in the upper part of the letter, as shown in the image below.

Add some more strokes on both sides of the letter, making it look more detailed.

Step 10

Now that the outlines of the letter A are ready, let's add some color! We can duplicate (Control-C > Control-B) the letter and Hide the copy in the Layers panel by clicking the tiny eye icon, just in case we need to use these outlines later.

Select the visible copy and go to Object > Live Paint > Make.

Step 11

Now grab the Live Paint Bucket (K) and hover over the area that you want to fill with color. Once you see a red outline, click the area to fill it.

Continue using the Live Paint Bucket (K) and selecting new colors in the Color panel to fill the triangles in the top part of the letter.

Step 12

Now let's go to Object > Live Paint > Expand in order to turn each colored section into a separate object.

Step 13

Use the Direct Selection Tool (A) to drag a couple of elements out, making the composition more dynamic.

And there we have it! Our first letter is finished! Let's move to the next one and see what else we can use to make it look unique.

 2. How to Design the Letter B

Step 1

I'm not using any snapping or special grids for this font, because I want to preserve a bit of a handcrafted touch without making it geometrically perfect or pixel perfect. However, to make the font consistent, we need to keep all the letters of the same height (while the width will be different).

Turn on the Rulers (Control-R) and drag a couple of horizontal guides onto the Artboard to mark the height of the letter A. We can access the Guides menu from View > Guides.

Step 2

Let's start with the stem of the letter B. Use the Rectangle Tool (M) to make a narrow rectangle of about 30 x 120 px (remember to keep the height equal to the height of your first letter).

Select its bottom edge with the Direct Selection Tool (A) and delete it.

Add a few horizontal lines and attach a couple of 10 x 10 px turquoise circles to the bottom of the shape. We can copy these circles from our letter A.

Step 3

Now let's make a straight horizontal line using the Pen Tool (P) and go to Effect > Distort & Transform > Zig Zag. Set the Size to 10 px, Ridges per segment to 5, and Points to Corner.

Click OK and go to Object > Expand Appearance to apply the effect.

Place the created zigzag inside the top part of the letter and resize it to make it fit the rectangle.

Step 4

Let's create a rectangle of about 45 x 55 px size and align it to the top and left edges of the letter. To do this, select the stem and the created rectangle and click the stem once again to make it a Key Object (you will see a thicker selection around it).

Open the Align panel (Window > Align) and click Horizontal Align Left and Vertical Align Top.

Step 5

Let's select the top and bottom right corners of the rectangle with the Direct Selection Tool (A) and make them rounded by pulling the circle marker of the Live Corners closer to the center. We can also adjust the Corners radius manually from the control panel on top.

Tip: If you can't find the top control panel after updating to Adobe Illustrator CC 2018, don't worry! It's still there, and you can turn it on in Window > Workspace > Essentials Classic.

Let's delete the left edge of the shape. Select the bottom left corner with the Direct Selection Tool (A) and press Delete (Backspace on Mac).

Repeat the same for the top left point, leaving only the arched shape.

Make a larger arc for the bottom bowl of the letter B.

Step 6

Add a smaller arc inside the bottom bowl. Make the letter more intricate by adding horizontal and vertical strokes. Finish off the outlines by placing two circles inside the bottom bowl.

Step 7

Let's duplicate (Control-C > Control-B) the letter and keep the copy invisible in case we need it later.

Select the visible copy and Object > Live Paint > Make. Use the Live Paint Bucket (K) and the Eyedropper Tool (I) to pick and apply colors to the elements of the letter B.

Let's finish off the letter. Go to Object > Live Paint > Expand and use the Direct Selection Tool (A) to drag some of the colored parts out of the outline.

Awesome! The second letter is finished! Let's check out some more techniques that we can use for other letters and symbols.

 3. How to Draw the Letter C

Step 1

Take the Ellipse Tool (L) and start with the base of the letter by making a 115 x 115 px circle. Copy the created circle and Paste in Front (Control-C > Control-F). Decrease the size of the copy to 80 x 80 px.

As you may notice, the letter is a bit lower than the top guideline. We've left some space above the circle in order to add a few details there.

Step 2

Take the Pen Tool (P), hold Shift, and make a vertical line across the circles. Keeping the line selected, double-click the Rotate Tool (R) and set the Angle to 12 degrees. Click Copy to add a rotated copy of the line.

Now press Control-D to repeat the last action and keep pressing until you get 30 copies to fill the circle.

Let's group (Control-G) the created rays and hide them for now.

Step 3

Now let's create a silhouette of the letter C. Use the Add Anchor Point Tool (+) to add two points on the right side of the larger circle and two for the smaller one, as marked in the screenshot below.

Now we can use the Direct Selection Tool (A) to click the segment of arc between the created points and delete it. Repeat the same for both circles.

Step 4

Now let's reveal the hidden rays and select all the elements of the C.

Take the Shape Builder Tool (Shift-M) and click the rectangles formed by crossing lines. Don't click all of them; leave some untouched space at the bottom of the shape.

Now we can select the unneeded pieces of the rays in the center of the C and delete them.

Step 5

Let's break the pieces of the rays on the left of the letter C.

Use the Pen Tool (P) to add a new anchor point somewhere in the middle of the line and delete the top point with the Delete Anchor Point Tool (-). This way we detach the piece from the edge of the letter.

Continue alternating the rays, making some of them shorter and detaching others to add variation to the silhouette of the letter.

Step 6

Add some more arched strokes to the inner part of the letter. Attach circles to the tips of the large arcs.

Duplicate the created outlines and use the Live Paint and the Live Paint Bucket (K) to add colors.

Step 7

Object > Live Paint > Expand the shape and drag out some of the colored rectangles. Great work! Our third letter is finished!

Go on and create more letters, numerals, and punctuation, everything that you might need for your future font. Don't worry if you don't make all the desired symbols at once; you can always reopen your font file and add them later.

 4. How to Make a Color Font in Fontself

Step 1

Now for the fun part! Since we have everything prepared, we can finally create a font using Fontself Maker!

First of all, let's open the Layers panel and place all the letters in alphabetical order, from left to right. Fontself will automatically assign the proper characters if your place them in the correct order.

We can rename the bottom guideline, setting it as a baseline.

Step 2

Now let's make sure that all our letters are aligned to the bottom and placed on the baseline. Select your characters and click Vertical Align Bottom in the Align panel, using one of the characters as a Key Object.

Step 3

Go to Window > Extensions and run Fontself Maker. A compact window of the extension will load, and you can adjust its size by dragging its bottom corners. It has a simple and user-friendly drag-and-drop interface with pop-up hints and an online chat assistant that can help you with your questions.

Step 4

Now let's select our alphabet and drag it to the Fontself window. Here we have several options to choose from. If you already have all the characters ready, you can use the 'A-Z' area and drop your letters there. Fontself will automatically place them in right order, giving each letter a proper name.

Otherwise, if you don't have all the characters finished yet, place your mouse cursor over the 'Any character (Batch)' field and release the mouse key to upload your characters.

In our case, we're making an uppercase font, so all the letters will be the same for both upper and lower case.

Step 5

What is great about Fontself is that it makes things so much easier: once we have arranged and aligned our letters, the program will place them in the correct order, using the information from the Layers panel. Just make sure that you drag and drop everything together, including the baseline.

If you need some more control over the guidelines and you wish to add an ascender and descender, you can make it too! Just add two more guidelines, rename them "ascender" and "descender" in the Layers panel, and then drag and drop them into Fontself together with your alphabet. Voila!

You can learn more about using guides in Fontself from the help page.

Now we have every letter placed in its own slot. From here, we can type something in the Live Preview window to check out how it looks and play with Letter Space, Line Space and Scale, if needed.

Clicking the tiny cog icon on the right allows you to change the font size, alignment, and background color.

We can also expand the letter preview window by clicking the tiny diagonal arrows icon in the top left corner of every preview slot (circled in the screenshot below) or by double-clicking the glyph.

Step 6

Here we have some more options for each letter. We can drag the lines, changing the position of the ascender and descender and adjusting other settings.

Step 7

Once we're happy with the letters, let's add other symbols and punctuation! To do this, just select the elements on the Artboard and click the Batch button in the Home window of Fontself. Your symbols will be added and placed in the proper order.

Step 8

Now let's take a look at some advanced settings that are vital when creating any font. Find and click the Advanced button in the Home window of Fontself.

From here, we can adjust the Spacing, Kerning, and some other parameters that are important to make our font look balanced and consistent.

Step 9

Let's start with Spacing.

In typography, spacing or tracking is the amount of space between the characters, which affects the density and gives the font its relative openness or tightness. In fact, a good spacing will save you a bunch of time when creating a font, so make sure you start by adjusting it first!

There are several ways to work with spacing in Fontself. First of all, click on the Spacing Pad window and type some phrases there to see how the characters behave within a text. Now, in the grey area on the right, you can see a list of letters and their values. Here you can edit the spacing by entering precise values in the table.

Step 10

Another way to edit spacing is to do it manually by clicking the character itself and dragging the dashed lines on the left and right sides of it. You will see all the adjustments in the Spacing Pad and in the Live Preview area which already has a sample text with all your characters.

Step 11

Now that we're happy with the density of the text and its overall look, it's time to adjust the kerning pairs by clicking the Kerning button.

Kerning is the process of adjusting the spacing between specific character pairs to achieve a visually pleasing result. In proportional all-caps fonts, it often happens that letters in some common combinations (such as VA or AW) look too far away from each other. In this case, we need to find such pairs and adjust the spacing between them manually, creating kerning pairs. And Fontself has this function too! What is more, it already has some common kerning pairs in the Live Preview window, so that you can see the result instantly.

The same as with spacing, there are several ways to adjust kerning. First of all, click on the Kerning Pad window and type some kerning pairs that you want to edit, for example AVA. Now, in the grey area on the right, you can see the Kerning pairs window and type the values there manually.

Step 12

Another way to adjust kerning is to click the character and drag the dashed line between the pair. The red line appears for negative values, making the space between the letters smaller. The blue line indicates the increasing space with a positive value that moves the letters farther away from each other. Simple as that.

Step 13

The next important thing that you might want to use in your font—and Fontself has this feature—is the use of ligatures!

A ligature is a combination of two or more letters into one symbol. For example, in common combinations like 'tt', 'fi', and 'ff', we might want to change some elements of the letters, such as crossbars, to make them look better together. Moreover, while working with color fonts, we can use ligatures in more creative ways, like making some words or names look fancy by adding new elements to them, such as particles, flowers or swashes. In this case, the whole composition can be used as a symbol, i.e. ligature.

Let's say we want to merge two letters together in 'TT' to make a single bar for them. Once you draw out the new letter, select it on the Artboard. Then open the Fontself window and type 'TT' in the text area on top and click the Create Ligature button right next to it.

Step 12

Once you've clicked the button, Fontself will ask you what kind of ligature you want to create. Later on, you can find both Standard Ligatures and Discretionary Ligatures in the OpenType panel (Window > OpenType) of Adobe Illustrator and see how they work.

Step 13

The last but not the least function that can make your font more unique and playful is using Alternates—the alternative versions of some (or all) characters that add variety to the whole text. Those can be versions with other colors, outlines, or swashes.

For example, here you can see that in the word 'COLORS', the 'O' letters are slightly different. This is how we do it. Once you have the alternative version of the letter prepared, select it on the Artboard and add it to Fontself. The program will ask you if you want to Replace the existing letter 'O' or create an alternate glyph. Just click the Alternate button, and there you have it!

Step 14

Now that we have added all the characters to Fontself, adjusted the spacing and kerning, and set the ligatures and alternates, it's time to name our baby!

Click the Font Infos button in the Home window of Fontself and fill in all the needed information. The developers' hints will guide you throughout the process. I can't but mention their great sense of humor in this part.

Step 15

Finally, it's time to try out our first color font! Oh, I'm so excited!

To start with, we can test it right in Adobe Illustrator by clicking the Install button in the top part of the Home window of Fontself. Now you can select your font in the Character panel of Adobe Illustrator (Window > Character) and try it out by typing something!

Step 16

Once you're happy with the result, go ahead and click the Export button in the Fontself window to generate an OpenType file with your font and all the cool features that we added to it using the extension. Exporting the font also allows you to Save your work and whenever you need to edit it again, you'll just have to Open it in Fontself and there you have it!

Congratulations! Our Color Font Is Finished!

Great work! Now we can have fun using our color font in Adobe Photoshop CC 2017/2018 and Adobe Illustrator CC 2018! The process of adjusting and installing the font with the help of Fontself Maker was so fun and easy that I haven't even noticed how I finished all the steps that usually make me bored.

I hope you enjoy creating characters in Adobe Illustrator and turning them into a color font in Fontself as much as I do. Feel free to try it out, and don't forget to share your results in the comments below or in social networks with #fontself!

If you like the typeface that we've created in this tutorial and you wanna play with it, feel free to grab the Fiesta Color Font at Envato Elements! In the archive you will also get vector files with all the characters to make your own lettering or to try out how it functions in Fontself Maker. Enjoy!

 2017-11-28T13:48:42.460Z 2017-11-28T13:48:42.460Z Yulia Sokolova tag:webdesign.tutsplus.com,2005:PostPresenter/cms-29922 How to Use CSS Gradients on the Web
In this tutorial you'll learn about using gradients on the web. I'll give you some examples, some exercises (such as how to create gradients for borders), and I'll also throw in some useful resources which will make creating gradients a lot easier.

Watch the Tutorial

Gradient Basics

In days gone by it wasn't really possible to use gradients without relying on images, but developments in CSS mean that it's now simple and reliable to create gradients from within our stylesheets.

In their simplest form, we define gradients as background images. We set the background image (just using the shorthand background is absolutely fine) as being either a linear-gradient or a radial-gradient, then we pass in the starting and the ending colors:

.box { background: linear-gradient(#000046, #1cb5e0); }

By default a linear gradient runs from top to bottom, giving us something like this:

We can change the direction by adding a new parameter before the colors, for example:

.box { background: linear-gradient(to right, #000046, #1cb5e0); }

Equally, changing this parameter to read to top right would create a diagonal gradient. You can make that diagonal exact too, by specifying something like 45deg (or whatever angle you choose).

Taking things a step further, you needn't stop at just two colors. And you can use color names too, like this:

.box { background: linear-gradient(to right, orange, #ec38bc, #7303c0, cyan); }

In this case each of the four colors will occupy an equal amount of the space available, giving us a smooth, balanced gradient.

If we don't want even distribution, but want one color to occupy more space than another, we can specify that value as a percentage directly after the color like so:

.box { background: linear-gradient(to right, #f05053 80%, #e1eec3); }

Giving us:

Radial Gradients

Moving on, we can use everything we've learned so far and change it to display radial gradients instead. Switching out linear-gradient for radial-gradient is all you need to do here.

.box { background: radial-gradient(#fdbb2d, #22c1c3); }

This radial gradient stretches to its parent element, so this rectangle ends up with an ellipse-like gradient. To constrain that gradient so that it remains a circle irrespective of the parent's proportions, we can add the circle keyword like so:

.box { background: radial-gradient(circle, #fdbb2d, #22c1c3); }

Going further still, we can specify the source of the circle gradient too, so that it begins (for example) in the top left of the parent.

.box { background: radial-gradient(circle at top left, #fdbb2d, #22c1c3); }

The effect is subtle, but the difference between this and a simple linear gradient might be just what you're looking for.

Real World Usage

Where might we use gradients in some interesting ways?

1. Hero Overlay

Here's an example of an overlay, where the gradient is slightly transparent (it uses rgba values) and sits upon a photo.

The background property can accept several values which form a stack, the first being the uppermost and the last finding itself at the bottom of the pile. If we define a gradient first, it will sit on top of whatever we define afterwards. Take a look at this snippet and see if you can work out what's happening:

.hero { background: linear-gradient(to right, rgba(75, 123, 211, 0.5), rgba(22, 215, 177, 0.3)), url(https://bg.jpg); }

Here's the resultant effect:

2. Gradient on Text

Having a gradient on text is a great effect, though not wholly supported in a pure sense. Instead, we rely on the background-clip property (and its prefixed -webkit-background-clip friend), which is something of a hack but works very nicely.

We begin with a chunk of text (an h1 in this case) and apply a gradient to its background. The background-clip property, given a value of text, then removes the background from the whole block except for the area behind the text. The text color obscures the background of course, so we make it transparent in order to let the gradient shine through:

h1 { background-image: linear-gradient(to right, #0cebeb, #20e3b2, #29ffc6); -webkit-background-clip: text; background-clip: text; color: transparent; }

3. Gradient Borders

Border gradients are something you might have seen on Envato Elements, and they're a great way to visually spice up your UI. It's subtly done, but take a look at the blue-to-purple linear gradient on these buttons' borders:

To achieve this effect there are a couple of approaches. The first relies on us first giving an element (an anchor, a container, whatever) a transparent border. We then apply our gradient using the border-image property. Finally, we set border-image-slice to 1, in order that the gradient uses the full outline of the border.

.card1 { border: 5px solid transparent; border-image: linear-gradient(to bottom, #22c1c3, #fdbb2d); border-image-slice: 1; }

Here's the result:

There are a couple of problems with this approach, however. Firstly, border-image isn't universally supported in all browsers, most notably older versions of IE. Secondly, this approach won't allow you to add border-radius such as you see in the Envato Elements UI. So let's look at an alternative approach.

We begin by giving our div a position: relative. We then add a pseudo-element to it, giving that a negative absolute position of whatever we chose our border width to be (5px in this case):

.card2::after { content: ''; position: absolute; top: -5px; bottom: -5px; left: -5px; right: -5px; }

This will give us a solid gradient block covering the whole of our div. Adding a z-index of -1 will ensure that the gradient block moves to behind the div.

Next (phew, there are a lot of steps for this one) we add a border-radius to the pseudo-element equal to that of its parent (let's apply 10px each). And then we give the parent a background of whatever we want; the same as the page background will make it appear transparent.

Finally, we once again turn to our friend background-clip, applying it to the parent and this time giving it a value of padding-box. This last action makes sure that the div's fill runs to the edge of the border and no further.

So this final approach isn't actually a border in the true sense, but it achieves the effect we're looking for.

A third approach is possible, this time using box-shadow to achieve the effect. I recommend you take a look at Border-gradient mixin by John Grishin on CodePen to see how this works.

Conclusion

So there you go! This primer on CSS gradients has given you the start you need, plus a look at how you can use gradients on the web. If you've seen any other creative uses of gradients out in the wild please drop them in the comments section.

Useful Resources

Inspiration

Good Golly, Gradients All Over the Web

Ian Yates

CSS

Revisiting the CSS Background Property

Thoriq Firdaus

 Web Gradients: A free collection of 180 linear gradients that you can use as
content backdrops in any part of your website.

 UI Gradients: Beautiful colour gradients for design and code

CSSmatic Gradient Generator

PostCSS Autoprefixer

 Border-gradient mixin: by John Grishin

 2017-11-13T11:09:24.000Z 2017-11-13T11:09:24.000Z Adi Purdila tag:webdesign.tutsplus.com,2005:PostPresenter/cms-26480 A Comprehensive Introduction to Color in Design
This article aims to give you a comprehensive introduction to the deepest of design rabbit holes: color. It will introduce you to the most important lingo and concepts to get you started, helping you make better decisions applying color in your designs.

Topics

As usual for these guides, we're going to cover a great deal, including:

Color?

Hue

Tint, Shade & Tone

Value

Saturation / Chroma

Color Wheel

Matching Colors

Monochromatic

Types of Color

Matching Colors

Emphasis

Color Consistency

Color Meanings

Color Relativity

Color?

Without light there is no color, right? Well, actually without "darkness" there is no color either. Huh? I know, it sounds strange at first, but without darkness colors disappear as well. Do we need to know stuff like this when we pick colors for our web design—choosing their hue, saturation and value? Probably not! Could color theory blow your mind every once in a while and make you a more effective web designer, and therefore a better "communicator"? Absolutely! In terms of colors, we all have a ton of opinions and emotions, but often people lack a clear idea about what they are actually doing. Having a theoretical basis to build upon makes you much more effective as a design person. Art school is not a place where most people spend a significant time of their lives, but you don't need to spend years to bend colors to your needs. So let's get you up to speed.

With selecting colors there are a lot of considerations you wouldn't expect right away. A little bit of a warning, it can be a rabbit hole you never escape from. To compensate for that, I propose that first and foremost, you might focus on making it interesting for your users while making reasonable and effective choices that support your design. This seems like a manageable goal for color newbies. I realize this sounds super puffy, but subjectivity is not something that you can shake off when talking about colors. Let's just say that we can agree that choosing colors that have meaning and create interest is a good place to start.

Color can be a very powerful "weapon" in your artistic or creative arsenal—if yielded appropriately of course. For our designs on the web, color is often about the emotional and visual impact. If used correctly, colors can guide viewers to what's important and add emphasis if you don't overdo it. I guess it's fair to say that this is probably the most important thing when using color on web projects. A secondary concern is that you can establish a certain mood, an emotional impact that takes branding ideas even further. This whole topic is a huge one—gigantic actually. We will focus on the most important aspects and terms to get you started.

Hue

A hue is any color on the color wheel.

A lot of the time when people talk about colors, they are actually talking about hues—which are the basic, "pure" colors, any color that is within the visible light spectrum. The healthy human eye can see 2.3M hues; tons of variations of reds, blues, greens and so on.

For our work with colors in design, they represent starting points, like raw or the most primitive versions. In our designs, it's advisable to leave these behind to avoid looking amateurish or childish. Did you ever notice that cartoons for kids like to use these colors for their characters? Not a big surprise I guess. You can make use of this of course if you go for a certain aesthetic, but most of the time, childish is not what works too well on the web.

Envoy Passport uses this cartoon-ish, playful style to its advantage here. You can see that the colors are very flat and unsophisticated. But they are using this style here to convey an impression or an idea that would have been harder to depict without imitating artwork for kids.

Tint, Shade & Tone

Hues don't have tint or shade—which means they lack any additions of white or black. That's why we are talking about tints and shades of particular hues. Tint is about the amount of white in a color. When you mix a color with white you are tinting it. More white leads to increased lightness of the hue. Adding white to the pure hue decreases its saturation, making the hue less intense.

Shade on the other hand is about the amount of black in a color. When you mix a color with black you are shading it. This results in a rich, often darker, more intense color due to the overpowering nature of black pigments. Many blacks change the characteristics of a hue, even through small amounts. Therefore they should be used sparingly.

As you can see in the spectrum below, in the middle you'll find the pure hue. Towards the left, we add more and more white by tinting it and to the right we are shading the red with black.

Tint-Hue-Shade Spectrum

We speak of creating tones when we mix a hue with gray, meaning that you effectively tint and shade at the same time. Tones can be lighter or darker than the original hue—depending on the amount of white and black added. They will also appear less saturated and intense than the original hue. Tones can reveal subtle and complex qualities in a hue and are closer representations to the way we see the "real" world.

Still from MoMA's Art Terms in Action series

Value

Value is the lightness or darkness of a hue. Values are very, very crucial for professional results. In a way, they are much more important to get correct than choosing a hue. When we say some color is brighter or darker we are talking about the value of a hue. This tells us how close it is to its lightest or darkest version. A value scale is like a gray scale for a particular hue.

The sections on the scale are called steps. Each one can clearly be distinguished by being significantly lighter or darker than the next. If you apply these values you achieve better tonal contrast by using realistic lights and shades.

A lot of the great paintings we collectively admire in art history were created by artists who were masters at subtle tonal contrast via proper use of value scales. They achieved variations of depth by gradual value changes of a limited number of hues.

This works not only with gray scales, but with monochromatic colors as well (with one hue). Think of it as the lights and shades of a hue.

Clearing Up--Coast of Sicily, Andreas Achenbach

You can see how effective this scale is by desaturating the painting. The values do not change when you gray out the color. The lightest lights and the darkest darks still define an effective range to produce an image that does not loose its artistic qualities.

Or think of iconic black and white photographs of the last fifty years or so. They often have a wide range of steps on the gray-scale and create a stronger, more interesting contrast—ranging from very dark blacks to very bright whites. Amateurs often end up with flat black and white images because they are unaware of the need to make them more vibrant with a broader gray-scale.

Extract from Guerrillero Heroico by Alberto Korda

Interestingly, every color has its own inherent range of values. Some have a bigger range than others. Red, for example, has a more limited range compared to a blue hue. Red is in the low gray-scale range, the value is very dark. Yellow, on the other hand, is in the high-range. Green, violet and blue have the largest range going from dark to light in a few more steps.

Why do we care? Values are an effective way to render a two-dimensional depiction on any canvas and let it appear three-dimensional using the relative shades of a hue. This is what people call being more alive or vibrant—in contrast to flat colors which fail to achieve this effect. This is why, in general, use more desaturated tones, pure hues are of little help and look immature. A good tip is to start with only one hue and develop a value scale for your website. You can use values for highlighting particular areas and others which recede gently into the background—all whilst staying within the same hue. Simple and classy.

Netlife Research

Saturation / Chroma

Saturation, also called chroma, is another concept we shouldn't overlook. This is the "colorfulness" or purity of a hue. These funky terms really translate down to the intensity or brilliance of a perceived color. The chroma is defining how pure the hue is. When you buy colors for painting, chromas are the colors that you take right off the tube. In contrast to that, desaturated colors are washed out or grayed out and are often used as shadow colors of various degrees. A completely desaturated color appears gray.

We desaturate hues by adding a complementary color. Everything added from the opposite of the color wheel will desaturate the hue effectively. Where both colors meet, you have your neutral color point, brown or gray. It's important to understand that we are not adding gray for this. In effect you are creating a gray, but not by adding black or white. These grays are used by painters to break up saturated colors.

Why is that a good idea? The answer is actually very practical: you don't want to bombard viewers with intense color saturations everywhere—quite the contrary. Highly saturated colors can look incredibly fake and cheap. Too much of it gives your eyes little chance to rest, and nothing to really focus on, more visual noise.

Screenshot

When a site like UXDESIGNER.TOP, somehow dedicated to UX, errors in this way, it is doubly sad to see in my opinion. Doesn't look too good, does it? It has all sorts of issues, but primarily the color mess does not make it easy to establish a hierarchy to guides the viewer. Bad UX!

Take blue and orange for example. Next to each other they behave very intensely. If you mix them you achieve a gray tone which can separate their more saturated variants really well. This new color positions itself between those highly saturated versions and creates a more visually pleasing experience by applying more realistic colors. As fluffy as this sounds, it has more vibrancy, more life. This creates a barrier between the colors that is more mature in technique. When you talk about masters in painting, this is one of the things they had a firm grip on.

Impression, soleil levant by Claude Monet

In design it's a good idea to focus on just one or two colors, then create variations from them. This gives you plenty of options within the same color. You vary your color, but stay within the same color hue(s). This then helps anchor your viewer's attention when only few parts are selectively highly saturated. In the image above, you'll find your eye drawn to the sen. It really jumps out.

Color Wheel

We get a color wheel by taking the spectrum of light and then connecting both ends to a circle. This is a classically used and helpful tool in showing us the relationships between colors. How so? For starters, the color wheel can tell you how to create the biggest contrast possible for a particular choice.

Goethe's colour wheel

The symmetrical color wheel is not so much a scientific thing but a representation of how our brain works. It points at how we might respond emotionally, in terms of what reactions colors awaken. Scientifically, there are no opposite colors in the color spectrum—that's an idea in our brains, or in the concepts we put together to organize and distinguish colors. It's definitely helpful for choosing color though. These perceptions are not only fuelled by our own biology but also very much influenced by centuries of art history and can vary significantly among various cultures.

In these examples we'll use the traditional "artist's" color wheel, based on the red-yellow-blue (RYB) color model. This one is derived from how painters created their color mixtures—via subtractive color mixing. It's mostly used in art and design these days, predating scientific color theory, which refers to cyan, magenta and yellow (CMY) as its primary colors. CMY achieves a bigger subset of colors than the RYB color model.

Primary Colors: Red, Yellow, Blue

Red, yellow, and blue are used to create all other colors, and therefore earn the name primary. You can't mix any other colors to get them.

This is certainly a good starting point and everything you need to know about primary colors for now. That being said, I also want to mention that this was the assumption of many color theorists in the past. In reality, with paint or ink for example, you can only mix a limited range of colors which does not match the complete range a healthy human eye can perceive. What we're talking about here is a certain complete subset of colors, also called a gamut. So, a grain of salt is in order here.

Secondary Colors: Green, Orange, Purple

Green, orange, and purple are mixed by combining primary colors.

In Goethe's color wheel above, green forms the base. It's the blend of the two primary colors yellow and blue. Orange is a mix of yellow and red, while purple is a mix of red and blue.

Tertiary Colors

We can take this idea further and mix primary with secondary colors—again by blending colors that lie next to each other on the wheel.

Source: Wikipedia

After finishing this declination you get the following:

Chartreuse: yellow-green

Amber: yellow-orange

Vermilion: red-orange

Magenta: red-purple

Violet: blue-purple

Teal: blue-green

Note that the secondary color follows the primary color in this notation.

 Analogous Colors

Analogous colors are adjacent on the color wheel, right next to each other.

They form a simple relationship and are usually very easy on the eyes, creating a peaceful, comfortable mood. How so? Most likely because this color combination can often be seen in nature.

Complementary Colors

On the color wheel, complementary colors oppose each other. Complementary colors are a very popular combination as they please the eyes "naturally". Red and green are especially popular.

But keep in mind not to use them equally, instead decide on one dominant color. Generally the weaker color should be used more widespread and the stronger one for accentuation. Think of color combinations like matching serif and sans-serif typefaces. A balance is really important here. Complementary colors are also able to create the strongest color contrast for each hue.

Triadic Colors

Triadic colors are placed equidistant on the color wheel. They present a bit more of an advanced combination and using these is difficult for beginners to get right I think—but don't let me stop you. The more you practice, etc, etc…

They are often good for cartoons and surreal scenes and can imply a certain playfulness.

Types of Color

Here's a newer representation of the RYB color wheel:

Warm Colors

Warm colors are represented by the right side of the color wheel. They tend to be more attention grabbing, energetic, really strong—at least in our usual perception. Don't forget these are very human attributes that have nothing to do with the phenomenon of light. These colors can grab our attention really fast and are considered very active.

SmartBribe

You can make warm colors work effectively, but here's an example that fails at establishing trust, safety and confidence, by blasting you with a ton of warm colors. On top of that, this design does a bad job at establishing emphasis on their main action. Their email subscribe button has the same color as the background and visually disappears. It could have been much more subtle and effective if only the button was using a warm color to stand out more clearly if the background was not using such an array of active colors.

Cool Colors

The left side, on the other hand, represent cool colors. These are more comforting and stable. They also tend to fade easily to the background of a composition and don't "jump out" that much. They are considered more passive in nature.

This left side of the color wheel is very popular among popular websites these days. Just take a look at the Facebooks and Twitters out there and you will find a plethora of well-known projects making these colors intrinsic to their color palettes. Why? Because web projects always have to fight their not having a physical location, where a personal and trusting connection can be made more easily. Websites that cater to a gazillion people need to appear stable, trustworthy, relaxing and calm—even comforting. These are all things that the cooler types of color can help you with.

Etsy

Neutral Colors

Black, white, gray and brown are considered neutral. In that sense, they are supporting "colors". If applied correctly, these neutrals can bind everything together—like in the Monet painting above. They provide a break from the intensity of the brighter, more intense colors which attract the eye more easily. In that sense, neutrals are the foundation of interest and variation—like your spaghetti with tomato sauce and meatballs. The spaghettis are the neutral binder in all of this.

The neutrals recede to the background when you bring more saturated colors into the mix. In every great color vocabulary, they play an important part because they help you to create a skillful balance in your work. Just imagine if everything is shouting color-wise. That wouldn't be very effective and we would again end up with color "noise". Neutrals are your secret weapon to create a sharp focus where needed. In practical terms, this means that you build up your composition with mostly neutral tones and then decide where the focus is and where the eye is supposed to be attracted to. That's where the saturated tones come into play.

Cinebody

Imagine if we had tons of saturated colors here. It would be much harder for the preorder buttons to stick out. Since they are at the core of this business, they need to be highly accentuated to avoid getting lost. The white and gray areas recede to the background and let the few color accentuations pop right out.

Matching Colors

Before we move on, a word about bringing various colors together. As I indicated, this process really can be similar to choosing typefaces. Try to commit to one, or perhaps two major colors for your design. You have lots of variations to play with by adjusting value, tone, brightness, saturation or use neutral colors, etc… If you don't go nuts with tons of colors you will achieve a much more coherent result—one which ties the whole piece together meaningfully and elegantly.

Start with one color, bounce other colors off that and see how far you can take it. Even better if you start with a simple gray-scale and wait before you bring color into the equation. Play with light and darkness in your early approaches. For highlighting certain parts use the dominant colors sparingly while letting the supporting colors do the background work.

Monochromatic Choices

I should also quickly mention what you need to know about monochromatic color choices. Remember this fellow from above?

This is a monochromatic color scale of a red hue. Below is a great example of using a monochrome approach effectively.

Boom

Emphasis

If you use your dominant color sparsely, you can create effective emphasis. Avoid inflating it too much and wasting the opportunity to highlight key design elements with it—save it for for the "cherry on top". Use it to focus on elements which are really crucial to communicating the most important pieces of information. This "primary" color of your palette usually works well with a gray scale because it fades back easily and supports the main color effectively.

RIF6 only highlights the key items for a successful business transaction. In this example it is hard to not notice the buttons that let you buy this item. Nothing is in the way of guiding the eye quickly to the interface item that facilitates the user's main action. All while using the main color that the company is identified with as a brand. Simple and effective! And no nonsense in the way.

Color Consistency

Once you establish a mental map of colors for your users, it is important to not break it. If you deliberately choose to break it, do it skilfully and with purpose. For example, Keeping links the same color when they do the same thing is crucial, especially if you have tons of content on a page. Also, keeping header colors consistent gives the user something to anchor their journey.

Keeping background colors similar can be very effective as well. This is not something that does a lot of harm when ignored, but can tie things together nicely when observed. The most important piece in all of this is that you are setting expectations for your users, and that you want to make it easy for users to follow and understand where the journey is going.

Pattern

Pattern is a new product by Etsy and it does a great job at using color consistently. Even the image of the desk with the books and stuff expands elegantly on their brand color and stays within this range of fuzzy, warm colors. The gray-ish wall in the background gives a perfect backdrop to bring attention to the site's main call to action. It clearly speaks "ETSY" without screaming right in your faces. Double thumbs up!

Etsy also do a great job at being consistent with color on their main page, but they also dropped the ball a bit here and there. I think it's fair to say that there is room to create more cohesion by using color more consistently within their main pages, especially in regards to backgrounds. Take a look for yourself, you be the judge:

Color Meanings

In various cultures, colors can imply different meanings or associations. They evoke different feelings which shouldn't be underestimated when we work on projects that span cultural zones. For avoiding misunderstandings and for effective communication, we need to take this into consideration.

Below are a few common meanings that colors are recognized as having attached to them. You may find them superficial, but it's nevertheless good to be aware of these associations and commit them to memory.

Blue

Blue speaks confidence, stability and business like no other color. It also implies trust and professionalism. Honor and being dependable is right up there as well. The (blue) sky is the limit!

Sorted

Green

Green implies growth, harmony, nature, wealth, optimism and money (of course).

Zpotdrop

Red

Love is a major association with red, but power, eroticism and strength pair with it as well. What makes it a bit tricky to work with is that it can also imply danger, blood, evil and a state of emergency. Courage is also synonymous. Be careful about the context and meaning with this one since it can evoke very powerful, potentially negative connotations.

The site for the SpeedX Leopard uses red very cleverly. It enhances the color of the bike itself, but only sparingly to highlight the call to action. Plastering red all over the place would not appear nearly as classy.

Yellow

Yellow symbolizes hope, joy, the sun, excitement, but also warnings. As it is so bright, it can "scream" loudly at you. Most of the time, that's not what we, as users, need. In the example below, less would have been more I think. For a project that has "safe" and "family" in its name, yellow might not have been the best of choices.

FamilyInSafe

Purple

The good ol' color of royalty. Not my cup of tea, but this color is used to convey the idea of luxury, magic and all that jazz. Interestingly, I feel punk goes with it as well. The association with royalty and luxury probably stems from the expensive nature purple had in the past. It was difficult to produce (some story that involves tons of tiny snails and such) and therefore only those highest in the social food chain were able to afford it. Nowadays, this is not a concern anymore of course.

Funny that Bootstrap, a highly popular Open Source project, uses purple in a totally different context very successfully. Perhaps Open Source projects have more wiggle room and adhere to different physics. Awesome!

White

This one is another tricky item in the list. White can convey purity, cleanliness, softness, sophistication, elegance, deity, weddings, royalty and positivity in general. In other cultures it can also be clearly be identified with death and tragedy. White and black can have very different meanings depending where you are. Watch out!

Cinebody

Black

Last, but not least, the good ol' mysterious, sexy and sophisticated black. Why so serious black? It's industrial, mechanical, and can also associate with "The End", death and evil. On top of that, it is rebellious as well.

Impossible

Personally, I think much of these associations are a bit contrived. But it's up to you! Do your research when you work on a project, especially if it reaches people outside your cultural comfort zone, but have lots of salt ready to go with it. Most of all, have fun and let your creative juices flow! Designing strictly by the book is dead boring anyway—and one sure way to kill the mood for sure.

Color Relativity

Let me just mention something really quickly before we head out. Color is highly influenced by what's surrounding it. At some point, we were talking about cooler and warmer colors, but it's a bit more relative than that. Colors can appear that way in relation to each other. They can look warmer or cooler depending on the environment they are in. Our human eye is a bit foolish that way. See how the colors below influence each other and how the gray border of the inner squares appears differently within each spectrum. That's what is called color relativity.

In some extreme examples colors can look completely different and totally fool the human eye. Take a look at this classic "checker shadow illusion" by Edward H. Adelson:

Believe it or not, squares 'A' and 'B' are actually the same color. Need to see some proof?

Use your favorite color picker to check, if you like. Food for thought on the road.

Final Thoughts

Color can be a powerful mood changer. Use this to your advantage or to your demise. This is really up to you because it is a mighty weapon to wield. Take your time to learn more and don't get frustrated by the sheer scale in front of you. On the web, you should definitely use color to create a certain mood and also to highlight elements that are of particular importance. As with design principles, less is more. If everything is highlighted via color, nothing sticks out and you will end up with an unfavourable signal-to-noise ratio.

Don't get lost in all that color theory at once though! You have a lifetime to achieve probably only a fraction of a complete understanding. Take it easy and enjoy the ride! Once you've opened your eyes to this whole topic, you will see the world through a different lens.
 2016-05-10T06:59:55.000Z 2016-05-10T06:59:55.000Z Ed Wassermann tag:webdesign.tutsplus.com,2005:PostPresenter/cms-25201 Blending Modes in CSS: Color Theory and Practical Application
Learn CSS: The Complete Guide

We've built a complete guide to help you learn CSS, whether you're just getting started with the basics or you want to explore more advanced CSS.

Blending Modes

You might be familiar with "blending modes" if you're a Photoshop user; they allow you to combine layers in different ways and they're great fun to play with. Blending modes in CSS, however, aren't supported universally, but they are certainly on their way.

In this tutorial, we will learn how blending modes work and the different ways you can implement blending modes using CSS.

The Basics of Blending

If you've never encountered blending modes, the way they work may seem a bit elusive. Let's break it down.

What does "blending mode" actually mean?

Blending modes have been available in design software for years, but the concept of blending modes has actually been in use for much longer, even before computers were invented.

The "blending" part of blending modes refers to taking two colors and combining them in some way to make one color. More accurately, we take two pixel maps and blend them together.

How that blending takes place is the "mode" part of blending modes. How do those colors interact? Because we are working with the digital space, we can take any mathematical formula and apply it to the two inputs to derive an output.

An untreated image of a jellyfish

The same jellyfish with a solid orange layer (our "source") placed over it

Here's our source layer with the "screen" blending mode applied

You do the Math

If you're feeling really ambitious, take a look through the W3C FX Task Force's official compositing document which explains the mathematical implementations of each of the different blending modes. It demonstrates a formula used to calculate the blending more.

Cm = B(Cb, Cs)

Here, Cm is the resultant color after blending.

 B refers to the blending function.

The Cb variable is the background color.

And the Cs variable is the source color.

All colors are based on a 0-1 scale, which maps directly to an rgb 0-255 value.

There are two categories of blending modes. The first are considered "non-separable", and the second (unsurprisingly) are considered "separable". Whether a blending mode is considered separable or not is determined by the underlying algorithm. If the algorithm treats each of the separate color channels (red, green, and blue) equally, it is considered non-separable. If it uses each of the color channels individually, it is considered separable.

All blend modes may only return colors that are within the range of 0 to 255. Anything beyond this range in either direction will be clipped to the range. When you see large areas of white or black on a blended area, it is likely because those areas are being clipped.

Types of Blending Modes Available in CSS

CSS blending modes, where supported, work in two different ways. The first type of blend mode is called background-blend-mode. This property allows you to blend all of the backgrounds within one element with each other.

If you have defined, for example, multiple background images (supported in all browsers beyond IE8), the first background image will be treated as the source layer, and any image added afterwards will be treated as the background layer, lying underneath.

Adding a background color (which must be last in the list) places another layer at the bottom. The color will be treated as the background layer, and the images as the source layers. Take the following style rule, for example:

div { background: url(img/pattern.png), url(img/jellyfish.jpg), #f07e32 ; }

That gives us:

And we can then add blend modes into the mix:

div { background: url(img/pattern.png), url(img/jellyfish.jpg), #f07e32 ; background-blend-mode: screen; }

Here are two divs using these styles, one without the blending mode, the second with:

A secondary blending mode type, mix-blend-mode, allows for independent elements to be blended together. The spec is more specific about the implementation, but the blending occurs in "stacking contexts".

This is what happens when we use mix-blend-mode, attempting to get the background image and color within the same element to blend (very little):

.my-overlay-element { background-color: #f07e32; background-image: url(img/jellyfish.jpg); // Note: This image will not be blended with the background color. mix-blend-mode: color-dodge; }

Below, you can find an interactive demo for exploring the effects of a given blend mode.

Separable Blend Modes

Let's take a look at the available blending modes, by examining the formula used, and applying each one to the red circle placed above our jellyfish.

No blend mode applied

Screen:

B(Cb, Cs) = 1 - [(1 - Cb) x (1 - Cs)]

Screen is named after the concept of projecting multiple photo exposures at the same time on one screen. The resulting color is always at least as light as either of the blended layers.

Screen blend mode

Darken:

B(Cb, Cs) = min(Cb, Cs)

Selects the darker of the two colors.

Darken blend mode

Lighten:

B(Cb, Cs) = max(Cb, Cs)

Selects the lighter of the two colors.

Lighten blend mode

Color dodge:

if(Cb == 0) B(Cb, Cs) = 0 else if(Cs == 1) B(Cb, Cs) = 1 else B(Cb, Cs) = min(1, Cb / (1 - Cs))

Color dodge lightens the background color to reflect the source color.

Color dodge blend mode

Color burn:

if(Cb == 1) B(Cb, Cs) = 1 else if(Cs == 0) B(Cb, Cs) = 0 else B(Cb, Cs) = 1 - min(1, (1 - Cb) / Cs)

Color burn darkens the background color, increasing the contrast between the source and the background.

Color burn blend mode

Hard light:

if(Cs <= 0.5) B(Cb, Cs) = Multiply(Cb, 2 x Cs) else B(Cb, Cs) = Screen(Cb, 2 x Cs -1)

Applies "multiply" on lighter colors and "screen" on darker colors. Essentially, "hard light" is the opposite of "overlay", which we'll look at next.

Hard light blend mode

Overlay:

B(Cb, Cs) = HardLight(Cs, Cb)

Applies "screen" on lighter colors and "multiply" on darker colors; written as the same as "hard light", except with the arguments to the function reversed.

Overlay blend mode

Soft light:

if(Cs <= 0.5) B(Cb, Cs) = Cb - (1 - 2 x Cs) x Cb x (1 - Cb) else B(Cb, Cs) = Cb + (2 x Cs - 1) x (D(Cb) - Cb) with if(Cb <= 0.25) D(Cb) = ((16 * Cb - 12) x Cb + 4) x Cb else D(Cb) = sqrt(Cb)

This blend mode applies a variant of "multiply" on dark values and a variant of "screen" on lighter values (similar to screen).

In this algorithm, we see a secondary function D that is set in the with clause based on the blue value present in the color. The end result is typically a much softer effect than "overlay".

Sof light blend mode

Difference:

B(Cb, Cs) = | Cb - Cs |

Difference takes the absolute difference value between the two colors, which has the effect of a photo negative.

Difference blend mode

Exclusion:

B(Cb, Cs) = Cb + Cs - 2 x Cb x Cs

The exclusion mode has the same basic effect as the "difference" mode, except that similar colors result in a lower contrast middle value (rather than a darker value).

Exclusion blend mode

Non-separable Blending Modes

The "non-separable" blending modes utilize a few extra functions, including a ClipColor function, SetLum function, and Sat function.

Important note: No version of Safari supports "hue", "saturation", "color", or "luminosity" blend modes with mix-blend-mode or background-blend-mode.

ClipColor(C) l = Lum(C) n = min(Cred, Cgreen, Cblue) x = max(Cred, Cgreen, Cblue) if n < 0.0 Cred = l + (((Cred - l) * l) / (l - n)) Cgreen = l + (((Cgreen - l) * l) / (l - n)) Cblue = l + (((Cblue - l) * l) / (l - n)) if x > 1.0 Cred = l + (((Cred - l) * (1 - l)) / (x - l)) Cgreen = l + (((Cgreen - l) * (1 - l)) / (x - l)) Cblue = l + (((Cblue - l) * (1 - l)) / (x - l)) return C SetLum(C, l) d = l - Lum(C) Cred = Cred + d Cgreen = Cgreen + d Cblue = Cblue + d return ClipColor(C) Sat(C) = max(Cred, Cgreen, Cblue) - min(Cred, Cgreen, Cblue)

Note the min, mid, and max utility functions refer to the minimum, middle, and maximum values. (Mid is not the average of the three values.) The values Cred, Cgreen, and Cblue refer to red, green, and blue values present in color C.

With these definitions, we can now look at the non-separable blending modes.

Hue:

B(Cb, Cs) = SetLum(SetSat(Cs, Sat(Cb)), Lum(Cb))

This mode applies the hue of the source layer to the luminance and saturation of the background color.

Hue blend mode

Saturation:

B(Cb, Cs) = SetLum(SetSat(Cb, Sat(Cs)), Lum(Cb))

This mode does the same thing as the "hue" mode, but instead applies the saturation of the foreground to the hue and the luminance of the background.

Saturation blend mode

Color:

B(Cb, Cs) = SetLum(Cs, Lum(Cb))

Applies the hue and saturation of the foreground to the luminance of the background.

Color blend mode

Luminosity:

B(Cb, Cs) = SetLum(Cb, Lum(Cs))

This mode applies the luminosity of the source layer with the hue and saturation of the background layer.

Luminosity blend mode

Conclusion

Blend modes in CSS provide new and exciting flexibility for design and unique aesthetic experiences. Understanding the math and the color theory that applies to each of the available blending modes provides you with a more holistic toolset.

What will you do as browsers continue to add support for blend modes?

Related Links

Check out what authors are doing with Photoshop actions and blend modes over on Envato Market

Read more about <blend-mode> on Mozilla Developer Network

 Compositing And Blending In CSS by Sara Soueidan

 2015-12-07T17:12:57.000Z 2015-12-07T17:12:57.000Z Jonathan Cutrell tag:webdesign.tutsplus.com,2005:PostPresenter/cms-24378 Web Design for Kids: Color
Welcome to the tenth lesson of our Web Design for Kids series, all about Color.

In this tutorial we will jump into color theory, different ways of using colors in our CSS, the meaning of certain colors, and review how to select the perfect colors for our sites. We'll finish up with some tips for using color on the web.

Don't forget to ask any questions in the comments section at the bottom of this page!

Color Theory

Color Theory involves a lot of things, but the main focus is looking at how colors behave with each other in a design. We call a group of colors chosen to be used together a Color Palette. A well designed color palette will have colors that complement each other and have good contrast and vibrancy. We'll talk about what these words mean in a moment.

Choosing the right colors and knowing why certain colors work and others do not can determine whether or not our design will work. Poor color choice can make our site difficult to use, or our text impossible to read and the user will leave our website.

Some Terminology

Before we get too far into our tutorial let's talk about some basic color terminology that we will be mentioning a lot. We'll use these terms to help us better understand what makes each color so unique.

Hues

A hue is (more or less) an object's color. When we refer to things as "red" or "yellow" we are talking about their hue.

Saturation

Color saturation refers to how vivid, or strong, a color is. A low saturation creates a color that appears washed out, while a high saturation produces and very vivid color.

Brightness or Lightness

Brightness refers to the lightness or darkness of a color. This goes from black (no brightness) to white (full brightness).

The Color Wheel

The color wheel is based on red, yellow, and blue and is pretty well known among artists. As designers, understanding how colors are created helps us get a better idea of which colors complement each other and why.

The left wheel on the car below shows the three primary colors. With these three colors we can create all other colors.

The wheel to the right on the car above shows secondary colors too: colors that were created by mixing the primary colors. For example, blue and yellow make green, while blue and red make purple.

The left color wheel on the car below shows one more layer: tertiary colors. These are colors created by mixing a primary and secondary color. For example, mixing blue with purple creates a dark bluish purple.

Web Color Systems

There are a number of color systems (ways to describe colors) but only certain systems are suitable for the web.

RGB

RGB stands for "Red Green Blue" and describes how we view colors on electronic displays. These three colors can be combined to produce many other colors. The three values are listed in order and each range from 0 to 255.

body { background: rgb(138,138,226); }

The above CSS produces a yellow-orange background on a page. Within the brackets you can see various red, green, and blue values.

We have only used a color's hexadecimal value so far in this series, but we can use a color in our CSS in many different ways.

Visit this site for a quick list of Hex and RGB values for 500 specific colors.

HSL

HSL stands for "Hue Saturation Lightness" and the value is made up of three numbers in that order.

We can declare the same yellow-orange on the body of a page using an HSL value instead of the color's Hex or RGB values:

body { background: hsl(43,100%,57%); }

The first value here, 43, represents an angle on a color circle. This is what gives us the hue. Red is 0 or 360 degrees, while green is 120 degrees and blue is 240 degrees.

The second value gives us a percentage of saturation for the color, with 100% here being complete saturation.

The final value, lightness, determines how light or dark the hue is. 100% is white, 0% is black, and anything in between will set a combination of the two.

Which value we use in our CSS is entirely up to us, but HSL values are more straightforward to guess by selecting an angle value moving counter-clockwise from red (0) and then adding the percentage of saturation and lightness we want.

Color Names

There are a limited number of colors which have names which we can use in our CSS, no numbers required.

body { background: green; }

A complete list of these color names can be found here.

Quick Note On Conversion Tools

If we ever have a Hex value and need that color's RGB or HSL value (or vice versa!) there are some neat tools that will do this work for us, like rgb.to and Colorrrs.

The Meaning of Colors

Colors carry a lot of meaning. Depending on what country you live in, a certain color can be used to mean danger, love, happiness, or evil. Colors can make users react with certain feelings, so having an understanding of this is important in order to communicate our message to the user.

Take a look at this chart which shows how different colors mean different things in various cultures.

Let's briefly discuss some meanings behind the three primary colors: yellow, red, and blue.

Yellow

Yellow attracts a user's attention more than any other color and usually represents happiness and sunshine. On the other hand, yellow can also mean "caution", as shown with many traffic signs.

Using yellow on the web can be very eye catching, so it's best to not overuse it and make sure we are highlighting important information only.

Red

Depending on what country you live in, red can mean anything from danger, to anger, to energy, to love and happiness. Whatever it might mean, red is always used to represent an extreme feeling or action.

In web design red is often used to communicate deletion or errors. It's a bold color that grabs the user's attention so it can work well as an accent color. Too much red on a site can be overwhelming and it may be difficult to tell what's especially important.

Blue

Blue represents both calmness and sadness for the most part and is a very popular color on the web.

The feel created by using blue in designs will greatly depend on what shade and hue we select. While a dark blue will communicate strength and reliability, a lighter blue will be more fun and friendly.

Selecting a Color Palette

Most sites will have a series of colors that work to give hierarchy and set the feeling of a design. Our color selection can be just as important as all the other design decisions we have had to make so far, so we need to have a good eye for what colors work together, whether or not we have achieved a good contrast throughout the page, and if the colors carry the same feel or meaning as our content.

Here's another look at the main color palette used throughout the Tuts+ Town tutorial series:

The lighter colors are used as backgrounds while the darker colors are used for text or to highlight certain sections.

Complementary & Contrasting Colors

Generally speaking, colors existing across from each other on the color wheel are considered pleasing to the eye. These are complementary colors–when combined they produce a shade of gray. It's possible for colors residing next to each other on the color wheel to work well together, but it might take a bit of saturation and brightness adjusting to get the right pairing.

We also touched a bit on contrast in the previous tutorial on design basics, but let's briefly take another look.

Proper contrast reduces eyestrain and makes visual hierarchy clear. The best example of good versus bad contract can be seen by comparing certain background and text color combinations.

The image above shows poor contrast on the left with better contrast on the right. The text with poor contrast is difficult to read and hurts our eyes, creating a blurred effect.

Color Palette Tools

There are tools that supply us with lists of lovely color palettes to choose from, which can be a real time saver and serve as great inspiration.

Coolors

Coolors.co is one of the easiest to use color selectors available at the moment.

It supplies us with beautiful color palettes that we can customize and change by pressing the spacebar.

Adobe Color

Adobe Color is another color selection tool that makes great use of that amazing color wheel we talked about earlier.

We can make changes to the color wheel, determining our palette, and then make further adjustments to each individual color.

Adobe Color also lets us save our favorite palettes and browse popular, pre-selected ones.

General Tips

When choosing colors for the web, and applying them to elements on the page, it's important to keep a few things in mind to make sure these colors improve the user's experience.

Contrast

Contrast is so important that, when in doubt, go with the safest option; even if it seems a bit "boring"! Some of the most important duties we have as designers are making sure things are functional, easy to use, and easy to read. Poor contrast will prevent our users from being able to read our wonderful content.

So while it's OK to be adventurous with your color choices, these choices should never take away from the overall operation of the site or distract from the content.

Number of Colors

Color palette selection tools, like Coolors, will often provide us with five colors. Five colors allow us to have one or two dominant colors and a few less dominant colors for things like buttons and links.

Having much more than five different colors puts our designs at risk of being inconsistent and difficult to follow; though white, black, and grays should not be counted here.

Common Patterns

It's really important not to stray from color use that is generally acceptable by a lot of people. For example, most people are used to green meaning "add" and red meaning "delete". Reversing this on our website would be a bad design decision because it's not what is expected and will probably confuse users.

Wrap Up

In this tutorial we discussed the theories and rules of color and how to properly select and use them on the web. Every color carries its own message. We need to make sure this message matches that of our content through carefully thought out palette choices.

Next we'll be finishing off our series with some final thoughts and different ways we can share our hard work with friends and family online.

See you around town!
 2015-07-09T10:43:45.579Z 2015-07-09T10:43:45.579Z Joni Trythall


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