When the Color Bar was just a Thing
Designers had to make the jump from graphic design to color work to be a part of the 1950s, a time when a vibrant red was all the rage and people could see through the red of the day.
“A lot of people were looking at the color palette and saying, ‘That’s too red,'” says Dan Lebovitz, founder of the design studio The Color Bar.
“And they were saying, no, that’s a beautiful color.
But it’s a color that people are going to associate with an iconic color and a certain type of work.”
Lebove’s work has been featured in the New York Times, Esquire, Newsweek, The Wall Street Journal, and Time.
His color palette includes hues ranging from yellow to red to orange and blue to green.
It’s one of the first major color palette innovations to emerge in the early 20th century.
It was so new that the work was almost entirely hand-drawn, but Lebave has made it look like an exact copy of the originals.
It has been a favorite of many, including Lebovic, who uses the colors to create posters, wall murals, and more.
Lebavitz’s palette has a strong visual appeal, and he believes it’s one reason he’s been featured on Time and Esquire.
But there’s a problem: Color can be confusing, and there are lots of confusing colors.
“It’s a very complicated palette, because there are so many different combinations,” Lebova says.
“But that’s why you’re making art.
You have to learn it and you have to apply it.”
So how do you learn color?
Lebivitz explains: Start with a blank canvas.
He draws an abstract shape, like a pentagram, and then paints it over with a color.
Then he applies a different color to the same shape.
This allows him to see how the colors interact, as well as the contrast.
He has also made a palette of some of his other color palettes that you can print and use as a reference.
LeBovitz is the one who’s in charge of figuring out what colors are appropriate for his work, and how to create them.
For example, he has reds and greens and blue, and sometimes a blue-green-red.
Then, he goes back to the drawing board and creates his own palettes.
“There are some palettes I’ve created, and others that are just sketches,” he says.
But he says his process is simple.
He looks at the drawings and he finds the colors that fit best with what he’s trying to create.
“You have to be creative,” he adds.
Leblovitz has worked with his team for nearly a decade, and has worked on many different types of work.
He worked on a number of high-end projects, like an opera and a theater, and his work is used by clients including the White House, The New York City Opera, and many other institutions.
“I’m just a really, really passionate artist, and it’s been a wonderful journey,” Leblavitz says.
The Color Barber was inspired by the work of Leboviks and Lebacz’s other collaborators, who all contributed color pallets.
“In some ways it’s like a palette book,” Leboovitz says, “where you have a palette and then you have these colors that are there to really give it that extra spark.”