IFCHUKS

I’m honored to be appointed by President Trump as the first Chief Design Officer of the United States of America.  (🧵) whitehouse.gov/presidential-…

Looks clean 👀

market red? build market green? build

#DesignReflectionsbyRose Today, I want to talk a bit about brand colors. Brand colors can be incredibly efficient—especially in fast-moving, highly competitive, and often homogeneous consumer industries. As the most immediately visible element, color helps brands launch products, enhance recognition, and spread virally in a way that’s almost hypnotic. It helps streamline branding across different channels. However, I often feel that the conventional idea of a narrowly defined “brand color” is… boring. All the knowledge and rules about color can already be found in textbooks and brand design manuals—and the fact that they’ve become canon often means they’re already outdated. The efficiency gained from a fixed brand color in communication and recognition often comes at the cost of visual depth and precision. Have designers stopped asking themselves: What am I really designing here? And what color would make this specific piece feel the best? Brand recognition and market pressure have begun to overpower the refinement of the art itself. At the same time, brand colors are always at risk of being drowned out by visual noise from other brands using similar hues. A color identity that is too rigid and dominant can also restrict variation and adaptability. This tension is part of what sparked the recent trend of “debranding” among brand designers. People often define “good branding” as something with high communicative efficiency—but in truth, that depends on the context. Take my thinking when building the @megaeth brand: launching a chain and building dreams on it is something that requires deep mutual understanding. A recognizable visual identity is great, sure—but it’s superficial and doesn’t invite people to truly explore what the brand is. On the contrary, a unique, refined, and delicate vibe can give someone an accurate first impression of MegaETH. In this case, quick memorability and differentiation aren’t necessarily top priorities—which is why I chose to break away from the restrictions of having a fixed brand color. I admit, in doing so—by not using bold reds, yellows, blues, or greens—I’ve made it harder to produce content and marketing materials. But precision and difficulty are part of what we call “taste.” After all, high fashion and bespoke luxury brands often have a strong stylistic identity and premium materials, but they would never limit themselves to just one fabric color to enhance recognizability. But does that mean MegaETH has no brand color in the broad sense? Definitely not. There are several distinctive tones that people have already come to associate with us: First, there's gray-white—raw, vintage, evoking concrete, metal, or old newspapers. Then, there's gray-black—the faintly glowing night sky, tinged with a bluish hue. These are neutral tones, full of potential, yet still full of personality. As for more vivid colors, we actually have some clear preferences in color pairings—like a tolerant mix of soft pink and green, or the orange glow within a deep blue cosmic space. These combinations are recognizable and widely used. Beyond that, I also have distinct personal habits in terms of saturation and brightness when designing for MegaETH. The subtle feeling created through all this might just be what defines “the color of MEGAETH.” What do you all think about this? I’d love to hear your thoughts. #rose今日的设计思考 今天想聊一下品牌色。 品牌色是高效的，尤其在竞争激烈、同质化高的快消行业，色彩作为最显眼的视觉构成有助于品牌去推出产品、去提高辨识度并魔性地传播，帮助品牌收束通路。 然而大多时候我感到，传统上狭义的某个“品牌色”，是无聊的。那些关于色彩的学问与搭配规则，在色彩教科书和品牌设计书上都能找到——而足以被认为是准则的，往往很可能已经过时了。 固定的颜色在品牌传播和辨识上提升的效率，很大程度以牺牲视觉体验的细腻和准确为代价——设计师们是否很早就停止思考自己到底在做一个什么内容，以及在做某个具体的内容时“到底什么颜色才能给人最好的感受”了？品牌的辨识度和市场的恐吓，已经太过于凌驾于一个art本身的完善了。同时，品牌色从来都会被其他类似颜色品牌的噪音侵袭，太强烈且固定的色彩identity也容易限制其variation的宽广度。这也是近年品牌设计师中的“debranding”思潮的由来。 人们时常以传达效率来决定什么是“好的branding”，但其实这视context而定。 拿我在构想@megaeth 品牌时的思考来说，建立一条链并在上面build dream，是一个需要深度互相认识的事情。有容易辨认的视觉identity固然好，但这太浅显，并不引导别人继续深入认识这个品牌“到底是什么”——相反的，一种独特的细腻的精致的vibes却可以让人对MegaETH有准确的初印象。 在这种情况下，让人快速记忆并快速区分，可能没有那么重要，所以我选择放弃颜色的桎梏。 我承认我在设计品牌时，因为没有选择红黄蓝绿或任意显眼颜色，在传播上增加了难度，因为人们更难制作相关的物料。但是精确与难度本就是“品味”的一种——毕竟高级私人定制时装往往有自己的品牌风格和高级的材料，却不会妄想限制布料的颜色来增加辨识度。 但是MegaETH没有广义的“品牌色”吗？显然不是。有几个非常特别的颜色会让人们认出：首先让人想起的或许是灰白（粗犷、复古的，犹如水泥金属或旧报的），然后是 灰黑（微光的夜空，泛着蓝灰的底光）。他们是neutral的、充满可能性的，却也有自己的个性。至于彩色，我们其实有自己偏好的色彩搭配，例如色相宽容度很高的粉绿搭配，还有蓝色宇宙中的桔红光芒。这些都是非常常见，也能被大家辨认出来的。除此之外，在对MegaETH的设计中，我对饱和度、明度都有不同于惯常的使用习惯。由此产生的这种细致的感觉，大概就是属于“MEGAETH的颜色” 不知道大家怎么想这个问题呢？欢迎来聊聊吧。