ROBERT VALENTINE — love good color

I am thrilled to interview my dear friend Robert Valentine, an acclaimed creative director for nearly three decades. Robert has partnered with publishers, cultural institutions, Fortune 500 companies, fashion icons, and lifestyle legends to evolve and transform their brands. I was fortunate to collaborate with him on FLOR’s entry into the consumer market. He is a wonderfully original and astute collaborator who loves exchanging ideas.
Robert’s work has been honored by the British Design & Art Direction Club; the Society of Publication Designers; the American Institute of Graphic Artists, Print, Graphis, Communication Arts, and ID magazine. His work is part of the permanent collections of the Cooper Hewitt, Smithsonian Design Museum, and the Victoria and Albert Museum.

Photography: José Picayo, Robert Valentine

Laura Guido-Clark: WHEN I SAY THE WORD COLOR, WHAT DO YOU THINK OF?

Robert Valentine: My first thought was of primary colors and the color wheel. When we began the interview, I got nervous and immediately went to the technical aspect of color. Then, I thought of color as materiality, like wood or stone, etc. For example, how I treated the walls in my home, to create something shimmery or reflective, how color changes with the light and the time of day—metallics, gold, silver leaf, mixed with flat or organic surfaces. I like to use color to ground and connect you to something else. My walls are painted three-quarters of the way, with the remainder being white that transitions to the ceiling. I sometimes use this same treatment in my work; I like to ground the elements with this device. I don't like things to just float and not be connected. Even silhouetted product images on white, they will always have a reflection or the slightest drop shadow to anchor them to give them dimension and structure. Especially with website design— we lost the sense of craft. It's about attention to detail, which in turn can add value. Everything needs a foundation or an implied foundation, I believe that about everything— relationships, copy, photography, design— something structural you can build on.

LGC: WHAT DOES WHITE MEAN TO YOU THEN?

RV: Good question. Anytime I print on paper— which, unfortunately, is very rare these days; my usual go-to is a bright white sheet with a tooth*. That way, the imagery melts into the paper; it grounds itself in the paper and has a tactile feel. It is more integrated than on a glossy or coated stock. White works as a grounding device if imagery does not bleed off the page, leaving a white border. I also have used a tinted page with white borders, as well to achieve the “grounding” effect.
*paper's tooth describes the surface feel of paper

LGC: CAN YOU SHARE A SIGNIFICANT COLOR MEMORY OR YOUR FIRST COLOR MEMORY?

RV: My first memory of color would have to be the drawings and paintings I created in Kindergarten. Not only did my mother save everything I ever created, but I also can remember drawing or painting them. This is probably why I have a fondness for newsprint. There was something about the warm tone of newsprint that seemed to ground the colors and help the other elements to connect with one another. Newsprint is more forgiving for this reason.

LGC: HOW DO YOU USE COLOR FOR SELF-EXPRESSION?

RV: This is a tough question to answer because I never thought I expressed myself with color. In clothing, I use color to conceal and not draw attention to myself. I wear a uniform that consists of dark colors and never anything with a pattern. I prefer clothing that is simple and understated and something that doesn’t require a lot of thought.

In my home, the artwork on the walls has the most expression of color and the furniture and wall color grounds and plays a supporting role in the artwork.

LGC: WHICH ONE OF YOUR SENSES, ASIDE FROM SIGHT, DO YOU MOST ASSOCIATE WITH COLOR?

RV: I think the sense of smell is the one I most associate or connect with color. Think about the foods we eat like an orange for example—this is probably the most obvious of examples.

LGC: HOW DOES COLOR PLAY A ROLE IN YOUR WORK?

RV: This is difficult to articulate and also difficult to master. It’s through experience and trial and error that I have developed an understanding of color and how to use it effectively. But I’m still learning.

For instance, with typography, I have found that using black type or reversed type (white) works best when incorporating typography with photography. I prefer to let the photograph speak for itself, and the type to be integrated with it. I use color in the typography when I think it helps express the overall concept or helps convey the story better.

As a creative director/designer, it’s also knowing when NOT to design.

LGC: WHAT IS SOMETHING YOU SAW LATELY THAT WAS COLOR CAPTIVATING?

RV: Though I’m not usually interested in anything war-related, the documentary by Peter Jackson called They Shall Not Grow Old is an amazing look at the soldiers and events of WWI, using film footage captured at the time. He utilized state-of-the-art restoration, colorization, and 3D technologies to create an intense and authentic experience through the eyes and voices of the British soldiers who lived it. The documentary is so visceral— the use of color gives the footage dimension and more clarity, and the humanity of war.

On an inspirational and creative level, I recently rediscovered a film directed by Kar-Wai Wong called In the Mood for Love. It’s a stunning and stylized movie—the use of color is so rich and sophisticated. The art direction is brilliant.

Here are a few music videos that are pretty great to absorb. Some of the choices are obvious and graphic, like Beenzino’s, but they also represent what most people think of as an expression of color.

Tyler The Creator

KATIE- Remember

Beenzino- Life in Color

LGC: WHO HAS HAD THE BIGGEST COLOR INFLUENCE ON YOU?

RV: Hands down, photographer (now textile and home décor guru) Martyn Thompson. He is a renaissance man. I can’t say enough about Martyn— from his use of color to his compositions to unusual juxtaposition of objects, and flick-of-the wrist styling gives the impression that someone just left the room.

LGC: WHAT COLOR CHALLENGES DO YOU FACE?

RV: Trends.

LGC: DO YOU HAVE A PHILOSOPHY YOU WORK BY?

RV: Whatever I am collaborating on or creating, I want it to tell a story and strive for a sense of humanity, authenticity, and longevity.

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