Just as autumn and Halloween overlap, Christmas and winter share plenty of visual territory.
Snow.
Evergreens.
Red berries.
Candles.
Cold skies.
Warm windows.
But a winter palette can feel quiet, icy, natural, elegant, or moonlit, while a Christmas palette usually introduces stronger warmth, festivity, richness, and deliberate seasonal accents.
Again, the difference often comes down to color relationships.
A winter palette might include:
White
Blue-gray
Pale blue
Indigo
Lavender
Cool green
Silver-gray
Charcoal
The overall temperature tends to be cool.
Saturation may be relatively low.
The result can feel quiet and spacious.
Think snow-covered woods before sunrise.
No ornaments.
No presents.
No elves.
Winter existed before the department stores discovered it.
Choose:
White + Pale Blue + Blue-Gray + Indigo + Lavender
Color a simple snowy scene.
Let white paper do plenty of the work.
Use pale blue and lavender in the snow shadows.
Make distant objects softer and cooler.
Save indigo for your deepest values.
The result should feel cold without requiring you to write BRRRR across the bottom.
Keep some winter colors, but introduce warmth and richer saturation.
Traditional Christmas colors might include:
Evergreen
Holly red
Burgundy
Gold
Cream
Warm brown
Candlelight yellow
Suddenly the cold landscape has focal points.
Red berries.
Green wreaths.
Golden windows.
Warm wooden doors.
Cream-colored ribbons.
The winter environment becomes the stage on which the Christmas colors perform.
Color two identical evergreen branches.
For winter, use blue-green, deep green, indigo, blue-gray, and snow shadows of lavender.
For Christmas, use richer evergreen, warm green, red berries, gold ribbon, and creamy highlights.
The plant hasn't changed.
The visual story has.
One belongs in the forest.
The other has somehow acquired decorations.
A mostly blue winter picture can be transformed by a tiny amount of red.
Imagine a snowy landscape with one person wearing a red scarf.
Your eye will probably go directly to it.
That's because the warm saturated red contrasts strongly with the cool environment.
This is why you don't need to scatter red across every object to make something feel festive.
A few repeated accents can be far more effective.
Create a mostly winter palette:
white,
blue-gray,
lavender,
indigo,
and cool green.
Color the entire scene.
Then introduce one red pencil.
Use it in only three small places.
Perhaps:
a scarf,
a berry cluster,
and a distant door.
Notice how strongly those tiny warm accents organize the picture.
This is palette hierarchy in action.
Traditional red and green are wonderful.
They're not mandatory.
Try an old-fashioned Christmas palette:
burgundy,
forest green,
antique gold,
cream,
and warm brown.
Or Victorian Christmas:
deep red,
plum,
evergreen,
brass gold,
and ivory.
Or woodland Christmas:
pine,
moss,
rust,
cranberry,
cream,
and mushroom brown.
Or icy Christmas:
silver,
white,
pale blue,
navy,
and tiny touches of gold.
The subject matter can communicate Christmas while the palette determines what kind of Christmas it becomes.
A winter scene doesn't have to be entirely cool.
Imagine snow outside a cabin.
The landscape might use blue-gray, violet, white, and indigo.
Inside the windows: cream and gold.
The contrast makes the cold look colder and the cabin look warmer.
We've seen this trick before because color theory is wonderfully repetitive once you begin recognizing the patterns.
Warm light.
Cool surroundings.
Instant cozy.
Remember our white-object lesson.
Snow isn't simply white paper.
Its shadows can contain:
blue,
lavender,
violet,
gray,
pink,
peach,
or reflected colors from nearby objects.
Under a clear blue sky, snow may have cool blue shadows.
At sunset, it may glow pink and gold.
Near evergreens, subtle green can appear.
Around Christmas lights, tiny reflected reds, greens, and golds may enter the snow.
White is remarkably colorful when you actually look at it.
Use two identical snowmen.
For Winter, color with:
white,
blue-gray,
lavender,
indigo,
and muted brown.
Keep the accessories neutral.
For Christmas, add:
cranberry red,
evergreen,
gold,
and warm cream.
Don't change the snowman.
Change the palette.
One feels like January.
The other is expecting presents.
Gold and silver can both work beautifully in seasonal palettes, but they behave differently.
Silver tends to reinforce cool winter colors.
It works naturally with:
blue,
lavender,
white,
gray,
and indigo.
Gold introduces warmth.
It pairs beautifully with:
red,
green,
cream,
burgundy,
and warm brown.
You don't need metallic pencils to suggest these materials.
Use the metal techniques we've already learned: strong contrast, bright highlights, dark reflections, and carefully chosen colors.
Seasonal palettes become much easier to manage when you include neutrals.
Cream.
Brown.
Gray.
White.
Charcoal.
They give the stronger seasonal colors somewhere to rest.
If every object is red, green, gold, blue, silver, or purple, the page can begin looking like the wrapping-paper aisle suffered a structural failure.
Let the quiet colors participate.
Use the same snowy cottage illustration twice.
Color December 20 with:
evergreen,
burgundy,
gold,
cream,
warm brown,
and cool snow shadows.
Then color January 20 with:
indigo,
blue-gray,
lavender,
white,
cool green,
and charcoal.
Remove no objects.
Add no decorations.
Let color alone tell us which scene feels more festive and which feels like deep winter.
Use winter colors to create the world. Use Christmas colors to create the celebration.
Cool blues, violets, whites, and grays can establish snow and cold.
Then red, evergreen, gold, cream, or candlelight can become deliberate accents.
You don't have to color the whole page Christmas.
Sometimes a tiny red scarf in an enormous blue-white world says everything you need.