Working with color is hard. No argument there, but do you know what’s even harder? Pairing colors together. Think about the last time you built a color palette from scratch. What was your process? How did it look? If you answered with a visible *shrug* then keep reading.

We covered the basics of what color is and how it works in How to Not Suck at Color, but now that you’re hue literate, it’s time we do something more interesting. Like building our own set of color palettes.

Oh, and we’re going to build them all from one color.

That sounds clickbait-y, doesn’t it? I mean it though. We’ll start with a single color of your choice and through guided magic develop an array of color palettes to use. Think of this like a method to sketch with color. …

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Photo: PM Images/Getty Images

If you took any kind of art class growing up, chances are your instructor mentioned the term “color theory.” And that was probably the last time you gave that term any kind of thought. Which explains why a lot of us make arbitrary decisions about color.

When you think of color, you may think of a blue sky, green grass, and black metal music. (Okay, maybe you didn’t think black metal.)

Color is this intangible and visual experience that comes with an emotional response. It is a complex thing when you really think about it. …

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A story about what it was like to pitch and produce a short for Disney XD (it was great, btw).


Hello, friend. I have no idea how you got here, but welcome to the first of a multi-part series of articles about the making of an animated short. That short is called Future! Taco! Meow!, and I co-created it for Disney in 2014.

I’m going to share how we pitched the idea, developed the story, designed it all, animated everything and produced the whole short. Start to finish; warts and all.

Was it one of the most challenging and rewarding creative experiences of my life? Yes it was. …

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I’d like to share three questions I’ve consistently received over the years about the business of creativity. These are usually sent from students and aimed at the motion design industry, but I feel that they’re ubiquitous in a lot of creative fields. No matter what form the question takes, it usually boils down to the concept of perceived creative control.

Before we get too deep into it, let me state—and really emphasize—that these responses are written in the context of commercial creative commerce. Meaning, there is a real client and a real budget to work with.

“I’d raise welts for kreative kontrol [sic]. I’d give up sex for kreative kontrol.” …


Greg Gunn

Illustrator, animator, real life person. Los Angeles, CA. Sign up for weekly email stories from me —

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