Sherwin-Williams Color Portal


We’ve been building this beloved campaign for over a decade and it continues to evolve. This new body of work is done in a shorter format with a new lead-in but it’s still the same full-spectrum Sherwin-Williams paint chip world you love.

In this iteration of the Sherwin campaign, the journey is the destination. We dove deep into researching classical landscape paintings before developing these panoramic worlds and their inhabitants.

The research helped us guide the composition and build a very controlled and atmospheric sense of color. The environments we depicted were specific and based on real, if idealized, locations but they had to inherit the palette of the cards in the opening, which turned out to be a surprisingly tough challenge.

The Story of a Place

The precise three color palette shown in the opening serves as the inspiration (Or is it the locations that inspired the colors?) for the idealized landscapes we explore in the rest of the spot.

Each environment is tailored to the cameras perspective; a story that unfolds and motivates the camera from one place to the next through its staging and composition.

The Dewlap is in the Details

As with every Sherwin-Williams project, highly crafted models go hand-in-hand with a kichen sink approach to color. This time was no different. Our paint chip creatures are always a labor of love to produce.

We’ve always taken a lot of inspiration from complex oragami patterns — as well as just bending & cutting a bunch of reference cards — in an effort to make each design feel believably formed and constructed with care.

However, each and every peice of the environement gets just as much attention. Rocks, trees, rivers, and beach towels need love too.

(A dewlap is the fleshy hanging neck thing you see on creatures like the Moose, above. The more you know!)

Keeping it (mountain-air) fresh

Each one of these Sherwin spots is a new and interesting puzzle to solve. In this series, the restricted palette and the camera movement’s motivations were the catalyst for innovating new ways to bring the paint chips to life.

Manny of those new methods are subtle, but surpisingly complex. In both Beach and Mountain we build ambient enviromental effects including the simulation of complex water systems.

Adapting card stock to mimic the motion, turbulence, refractions, and reflections of water was no small feat, but not one that thousands of slightly varied color chips couldn’t solve.

It’s a testament to the BUCK Sherwin team that we are able to find new ways to keep this long-running idea fresh and exciting over a decade after we began.

This ain’t our first fishing trip

See more of our earlier work with Sherwin-Williams.



Chief Creative Officer

Orion Tait

Group Creative Director

Ben Langsfeld

Executive Producer

Joe Nash

Creative Director

Jon Gorman

Senior Producer

Alex Decaneas

Production Coordinator

Jennifer Blackwell

Art Director

Doug Hindson

Yeojin Shin

CG Supervisor

Bill Dorais

CG Lead

Arvid Volz


Tucker Klein


Colin Bigelow

Doug Hindson

Joshua Harvey

Yeojin Shin


John Karian

Animation Director

Chad Colby

2D Animation

Michael Russo

3D Modeling

Arvid Volz

Atsuki Hirose

Bryan Eck

Dave Soto

Filipe Machado


Ernesto Ruiz Velasco

Jordan Levitt

3D Animation

Ida Zhu

John Karian

Josh Baum


Chris Ribar


Shane O'Hara

Ylli Orana


Jeff Billon

Shane O'Hara

Ylli Orana

Color Grade

Jose Fuentes

Post Production

Jose Fuentes

Live Action

Line Producer

Brian Bennhoff

Director of Photography

Anibal Hernandez


Chief Creative Officer

Jonathan Cude

Executive Director, Brand Experience

Jenny Nicholson

Creative Director

Jordan Eakin

Art Director

Shealah Cocherell


Jade Stoner


Kate Rauber