As people age, colors begin to look darker, making lighter colors more appealing. They are very open to novelty and experimentation with colors. Color effects such as glitter, translucence, pearlescence, and metallics appeal to younger audiences Paul. Secondary colors are also heralded as young Dettmer, Hues are an important consideration, but shades also factor into preference differences across age demographics. Culture, ethnicity, and nationality.
A study of international color connotations revealed that there are virtually no universals. Peterson and Cullen catalogued cultures and colors and found tremendous diversity worldwide. For example, green can hold vastly different connotations for desert and rainforest dwellers; white, for tropical and polar residents. Natural color occurrences, coupled with local preferences and centuries of history, produce complex color meanings and associations across the globe.
Learning the color vernacular of the target audience is important, but Peterson and Cullen warned against mere mimicry. Cultures worldwide love the exotic. In the United States, there are slight color preference variations among ethnic groups. Asians, blacks, Hispanics, and whites all prefer blue Paul, Purple is slightly more popular among blacks and Hispanics, whereas Asians prefer pink and whites lean towards green. Social status. Blue-collar audiences prefer primary colors, while more upscale audiences prefer softer pastels Nelson, Personality affects not only response to different colors, but color sensitivity in general Nelson, Extroverts are highly responsive to color, whereas introverts are actually more sensitive to shape.
Color is more persuasive with its audience than shape is, however, as extroverts are more responsive to color than introverts are to shape. Extroverts also prefer brighter colors, whereas introverts prefer lighter, more subdued tones Crozier, Color trends. Choosing colors is an important decision in any area of design. Selecting a color that will appear for years to come has far-reaching consequences and may either bolster or damage sales in the future Lambert, It must be formulated with a careful understanding of current and future color trends.
Faber Birren theorized that popular colors are in for about three years Toufexis, Preferred colors rise and fall in accordance with current events, pop culture, influential designers, and social movements Nelson, The King Tutankhamen traveling exhibit of left golds, browns, and autumn colors in its wake Nelson, One writer attributed the widespread soft pastels of the mids to the influence of architect Michael Graves Nelson.
Social causes also affect color trends, often employing colored ribbons as cause symbols. Color trends can also be embarrassed responses to earlier fads. Sometimes the color pendulum swings out of repulsion rather than attraction. Color Use in Graphic Design Color schemes. After audience research, designers must focus on the organization, corporation, product, or service to represent to the target audience.
Before designers can select individual colors, they must assess color schemes and printing budgets Williams, Multiple-color combinations can add depth, complexity, and additional meaning to design. A common two-hue combination involves complimentary colors, colors directly opposite each other on the color wheel e. Three-hue color harmonies often involve triads, colors located equally far from each other on the color wheel Bleicher, Adding a second color allows the designer to fake a full-color print.
Nelson recommended adding greens and blues while avoiding yellow. In the direct mail arena, red has been a longtime leader for the most effective second color. One-color schemes, however, were ranked more tasteful than their two- or four-color counterparts.
A simple monochromatic color scheme can lend an air of sophisticated restraint while cutting costs Nelson, A phenomenon known as vibrating colors occurs when bright colors of equal intensity are placed beside each other Berman This can make text difficult to read. Color vibration is most often a design faux pas except for rare occasions when the vibration is an intentional part of the design. The graphic designer must consider value and saturation as well as hue.
Gorn, Chattopadhyay, Yi, and Dahl found that greater value in a magazine ad increased viewer relaxation, and greater saturation increased excitement. Gorn et al. Color is king in advertising. Consumers remember colors first, then graphics, numbers, and finally words Wallace, Full-page color ads are noticed twice as much as their black and white counterparts Nelson, Although full-color ads cost a third more than black and white ads, they are up to fifteen times as effective in measured results.
Color advertising pays for itself. Packaging plays two vital roles. Furthermore, they scan store aisles for colors, not for design or text Nelson. Packaging color defines and destines products. In packaging, some colors or color combinations carry different connotations than they would have in other contexts. On a package, white is far from a passive ingredient. When white appears on soft drink cans, it implies that the drink is low in calories Nelson, Bright letters on fields of white convey impressions of strength and purity.
The weight loss drug Alli utilizes a white field across which it splashes red, blue, yellow, and green letters that testify to its slimming powers Sturgess, John Steel of Colgate-Palmolive Co.
Colors as allies. Colors are entities of vast power. This is why color is a weighty factor in branding logos and palettes. Color choice is nowhere more crucial than in logo design, where slight variations in hue can have enormous economic impact. Color choice can also make a logo memorable or forgettable. Huang, Lin, and Chiang found that using a preferred color with an unfamiliar logo significantly increased logo recall.
In survival mode, a low-quality grayscale reproduction such as in a want ad, a logo must be able to function independently of color or even value. Gernsheimer recommends that designers create their logos in black and white to test their grayscale effectiveness before exploring color possibilities. For a logo to reach its maximum potential, a signature color is a virtual requirement Gernsheimer, Additional colors are often distracting and can harm branding consistency.
However, neutral colors e. They can also be added to the primary color palette. Restraint is invaluable in color selection. The colors should function well both independently and collectively. Successful, established logos can rely on design and color alone, rather than text, in their representations Bleicher, Some companies can even be represented only by their colors, such as UPS with brown and Coca-Cola with red.
Brand colors. In branding, there is no greater trademark than owning a color Alva, Branding colors make enormous suggestions about the organizations or corporations they represent. Brown promises that UPS is steady and reliable Alva, Purple hints that Nexium is sensual and spiritual Applebaum, Orange says that Tide is cleansing and energetic Berman, Brand confusion is an important factor that can either help or harm.
Often competitors within a given market choose colors that will differentiate them. Although red is passionate and yellow is eye-catching Alva , secondary colors are enjoying popularity Dettmer, They are nontraditional and more youthful. Orange has largely replaced blue in this decade. Eiseman , as cited in Alva, condemns taking advantage of brand confusion. However, Forest , as cited in Nelson, points out that new brands can actually enjoy free rides on the backs of established competitors by using similar colors.
For brand independence, however, it is best to introduce a new color into a given arena. Color palettes.
Color palettes must work in close harmony with the logo and the signature color Gernsheimer, Each color in the palette must also function well alongside other palette colors. Colors can lend a hierarchical element to branding design Gernsheimer, They often function in pairs, with a mid-value color defining the logo and a darker shade used for accents or coloring the tagline. The medium in which the palette colors will most commonly appear determines color parameters and possibilities Gernsheimer, Color is free onscreen, whereas printed color is much more expensive.
Logos and palettes that appear most commonly onscreen make for easy and inexpensive full-color reproduction. Conclusion At its best, color converses. Designers can use color most effectively once they have studied the color languages of their target audiences, as well as the messages to convey. The best designs are visual languages in which colors have active voices and appeal to their audiences on both emotional and intellectual levels.
Color application in graphic design is a discipline that builds directly upon the fundamentals of color psychology. Understanding the basics dimensions of color and their influence upon human viewers is invaluable. Towards this end, the researcher conducted a study on color preference as affected by two basic properties of color: brightness and saturation.
In color psychology and graphic design, the three-dimensionality of color is often disregarded, with an overemphasis on hue. They constructed an emotion model that included arousal, dominance, and pleasure.
They then conducted three studies to determine how saturation and brightness affected those emotions. Arousal was primarily affected by saturation; dominance increased with saturation but decreased with additional brightness; and pleasure increased with saturation and especially brightness. The purpose of this study is to determine the point, if any, at which the joint effects of brightness and saturation cause a viewer to prefer a yellow color to a blue color.
Due to the strong factors reported from brightness and saturation, the following hypothesis was established: Preferences for the two colors will be roughly equal at the ninth color pair analyzed in the study, and yellow will surpass blue at the tenth pair. Methodology Participants Participants ranged from 17 to 58 years of age, with a mean age of Two hundred sixty-four participants were college-aged individuals 22 or under, and 33 participants were 23 or above.
One hundred thirteen males and females took part in the study. Ten increments of blue and yellow color swatches were printed on pieces of paper measuring 8. The increments were evenly distributed on the HSB color model, ranging from the highly unsaturated and dark to the highly saturated and bright see Table 1. Each blue swatch was located at H , and each yellow swatch at H The brightest blue and yellow swatches both contained saturation of and brightness of 95, the highest printable values possible.
For each successive increment, both saturation and brightness were lowered seven points, with the lowest color swatches containing saturation of 37 and brightness of Each blue swatch was paired with a yellow swatch, the blue swatches in descending order; the yellow swatches, in ascending order.
Each color pair was affixed to the inside panels of a manila folder. Procedure Each participant was shown one color pair and asked to circle the hue name of the swatch he preferred either blue or yellow. Approximately 30 participants evaluated each color pair. The study was conducted over the course of six hours in an inner room away from any windows that might alter the appearance of the colors with shifting daylight.
Lighting remained constant throughout the course of the study. All curvilinear edges were trimmed from the manila folders to make both sides uniform. As expected, color pairs showed a steady decrease in the number of times blue was preferred, while preferences for yellow increased see Figure 1.
Consistent with the hypothesis, the colors were preferred almost equally in the ninth pair, where yellow was selected 14 times and blue 16 times. However, the tenth pair showed an unexpectedly large disparity between the number of times each color was preferred, in favor of blue. Did you find this document useful? Is this content inappropriate? Report this Document. Flag for inappropriate content. Download now. Related titles. Carousel Previous Carousel Next. Jump to Page.
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