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Why are certain colors used in Advertising and Design?

October 5, 2010

YELLOW

Use yellow to evoke pleasant, cheerful feelings. You can choose yellow to promote children’s products and items related to leisure. Yellow is very effective for attracting attention, so use it to highlight the most important elements of your design. Men usually perceive yellow as a very lighthearted, ‘childish’ color, so it is not recommended to use yellow when selling prestigious, expensive products to men – nobody will buy a yellow business suit or a yellow Mercedes. Yellow is an unstable and spontaneous color, so avoid using yellow if you want to suggest stability and safety. Light yellow tends to disappear into white, so it usually needs a dark color to highlight it. Shades of yellow are visually unappealing because they loose cheerfulness and become dingy.

RED

Red brings text and images to the foreground. Use it as an accent color to stimulate people to make quick decisions; it is a perfect color for ‘Buy Now’ or ‘Click Here’ buttons on Internet banners and websites. In advertising, red is often used to evoke erotic feelings (red lips, red nails, red-light districts, ‘Lady in Red’, etc). Red is widely used to indicate danger (high voltage signs, traffic lights). This color is also commonly associated with energy, so you can use it when promoting energy drinks, games, cars, items related to sports and high physical activity.

GREEN

Green is the color of nature. It symbolizes growth, harmony, freshness, and fertility. Green has strong emotional correspondence with safety. Dark green is also commonly associated with money.

Green has great healing power. It is the most restful color for the human eye; it can improve vision. Green suggests stability and endurance. Sometimes green denotes lack of experience; for example, a ‘greenhorn’ is a novice. In heraldry, green indicates growth and hope. Green, as opposed to red, means safety; it is the color of free passage in road traffic.

Use green to indicate safety when advertising drugs and medical products. Green is directly related to nature, so you can use it to promote ‘green’ products. Dull, darker green is commonly associated with money, the financial world, banking, and Wall Street.

BLUE

Blue is considered beneficial to the mind and body. It slows human metabolism and produces a calming effect. Blue is strongly associated with tranquility and calmness. In heraldry, blue is used to symbolize piety and sincerity.

You can use blue to promote products and services related to cleanliness (water purification filters, cleaning liquids, vodka), air and sky (airlines, airports, air conditioners), water and sea (sea voyages, mineral water). As opposed to emotionally warm colors like red, orange, and yellow; blue is linked to consciousness and intellect. Use blue to suggest precision when promoting high-tech products.

Blue is a masculine color; according to studies, it is highly accepted among males. Dark blue is associated with depth, expertise, and stability; it is a preferred color for corporate America.

Avoid using blue when promoting food and cooking, because blue suppresses appetite. When used together with warm colors like yellow or red, blue can create high-impact, vibrant designs; for example, blue-yellow-red is a perfect color scheme for a superhero.

PURPLE

Purple combines the stability of blue and the energy of red. Purple is associated with royalty. It symbolizes power, nobility, luxury, and ambition. It conveys wealth and extravagance. Purple is associated with wisdom, dignity, independence, creativity, mystery, and magic.

According to surveys, almost 75 percent of pre-adolescent children prefer purple to all other colors. Purple is a very rare color in nature; some people consider it to be artificial.

Light purple is a good choice for a feminine design. You can use bright purple when promoting children’s products.

WHITE

White is associated with light, goodness, innocence, purity, and virginity. It is considered to be the color of perfection.

White means safety, purity, and cleanliness. As opposed to black, white usually has a positive connotation. White can represent a successful beginning. In heraldry, white depicts faith and purity.

In advertising, white is associated with coolness and cleanliness because it’s the color of snow. You can use white to suggest simplicity in high-tech products. White is an appropriate color for charitable organizations; angels are usually imagined wearing white clothes. White is associated with hospitals, doctors, and sterility, so you can use white to suggest safety when promoting medical products. White is often associated with low weight, low-fat food, and dairy products.

BLACK

Black is associated with power, elegance, formality, death, evil, and mystery.

Black is a mysterious color associated with fear and the unknown (black holes). It usually has a negative connotation (blacklist, black humor, ‘black death’). Black denotes strength and authority; it is considered to be a very formal, elegant, and prestigious color (black tie, black Mercedes). In heraldry, black is the symbol of grief.

Black gives the feeling of perspective and depth, but a black background diminishes readability. A black suit or dress can make you look thinner. When designing for a gallery of art or photography, you can use a black or gray background to make the other colors stand out. Black contrasts well with bright colors. Combined with red or orange – other very powerful colors – black gives a very aggressive color scheme.

Filed Under: Advertising, Graphic Design

Principles of Great Art and Design

September 24, 2010

10 Perceptual Principles of Great Art and Design

PEAK SHIFT: We find deliberate distortions of a stimulus even more exciting than the stimulus itself—which is why cartoon caricatures grab our attention.

GROUPING: It feels nice when the distinct parts of a picture can be grouped into a pattern or form. The brain likes to find the signal amid the noise.

BALANCE: Successful art makes use of its entire representational space, and spreads its information across the entire canvas.

CONTRAST: Because of how the visual cortex works, it’s particularly pleasing for the brain to gaze at images rich in contrast, like thick black outlines or sharp angles—or, as in the geometric art of Mondrian, both at once.

ISOLATION: Sometimes less is more. By reducing reality to its most essential features—think a Matisse that’s all bright color and sharp silhouettes—artists amplify the sensory signals we normally have to search for.

PERCEPTUAL PROBLEM SOLVING: Just as we love solving crossword puzzles, we love to “solve” abstract paintings such as cubist still lifes or Cézanne landscapes.

SYMMETRY: Symmetrical things, from human faces to Roman arches, are more attractive than asymmetrical ones.

REPETITION, RHYTHM, ORDERLINESS: Beauty is inseparable from the appearance of order. Consider the garden paintings of Monet. Pictures filled with patterns, be it subtle color repetitions or formal rhythms, appear more elegant and composed.

GENERIC PERSPECTIVE: We prefer things that can be observed from multiple viewpoints, such as still lifes and pastoral landscapes, to the fragmentary perspective of a single person. They contain more information, making it easier for the brain to deduce what’s going on.

METAPHOR: Metaphor encourages us to see the world in a new way: Two unrelated objects are directly compared, giving birth to a new idea. Picasso did this all the time—he portrayed the bombing of Guernica, for example, with the imagery of a bull, a horse, and a lightbulb.

Filed Under: Graphic Design

Ingredients of Good Design

September 17, 2010

Good design is the result of great thinking, as well as great ingredients. Typical ingredients are compelling photography and strong content. The job of the designer, as a sort of master chef, is to measure, blend and cook these elements into a successful project. Where do these ingredients come from, and just how good are they? Some elements come from clients, some are original work.

Using cheap or free design elements is like a five-star chef using canned sauces and pre-made dishes in the spirit of a fast-food restaurant. Creating from scratch seems to be a thing of the past. Photo shoots and original illustration are now usually done only by agencies (like ourselves) that work for big clients with deep pockets.

Certainly, factors outside of the designer’s control will affect these decisions, such as budget. But the price of using only cheap or free assets is that designs will increasingly look like replicas of each other. In addition, clients will come to expect assets for free or next to nothing, so budgets will not be there for future projects.


Filed Under: Graphic Design

Breaking the Rules…

September 13, 2010

There are lots of “design rules” out there that you’re supposed to follow.

These rules are there for good reason – following them increases the likelihood that you’ll create a usable and effective interaction experience for users.

But is it ever OK to break the rules?

Of course it is. “Design Rules” aren’t rules at all – they’re simply guidelines you should use to help create an optimal solution.

Breaking well established design conventions doesn’t always mean you’re making a “mistake” or that you’re going to produce a poor user experience.

Quite the opposite – breaking the rules enables you to be more creative, original, and innovative which can potentially result in new and novel interaction experiences.

The key is not to break the rules just for the sake of creating something “different”. However, we must maintain;  “to break a rule, you must know snd understand the rule”.

Filed Under: Graphic Design

Designers Insights – Levels of Creativity

September 7, 2010

Some graphic designers believe that creativity is innate while others think it is learnt. We consider both to be equally essential in graphic design. This is because, nature and nurture, both play a significant role in building our creative instincts. Almost every human being is born with relatively equal capabilities, but with their own set of creative faculties. They just need to be properly nurtured in order to reap the desired fruit.

Likewise, all graphic designers, no matter how small or big in magnitude, have a certain level of creativity embedded in them. Creativity is never static. There is always room for improvement and there are absolutely no bounds to a graphic designer’s resourcefulness. Creativity can be enhanced to levels unimagined.

To follow are  levels of creativity that graphic designers must pass through in order to reach the pinnacle of ingenuity.

‘Newbie’ Novice:

This is the infant stage where the graphic designer’s creativity is in the initial stage of adopting the basics of graphic design. In this level, the graphic designer has little or no exposure to the practical world. All he or she knows is the rudimentary principles of graphic designing, but not much information on how to implement them in an orderly fashion. Lack of experience bounds his creative skills to the bare minimum.

‘Aspiring’ Amateur:

This is the level in which, the graphic designer pushes up a gear. He or she enters the practical field of graphic designing and is aspiring for work. He or she tries to find opportunities to work on his creative skills and increase his experience. Whatever assignment he or she gets, takes  loads of time to complete. He or she cannot even decide on whether to work part-time or full-time. Imaginative and resourceful engine is still not warm enough to process the imagination wheel.

‘Lazy’ Learner:

Now don’t get me wrong here. I don’t mean to offend any graphic designer by using the term ‘lazy’. By lazy learner I implied the level where the graphic designers are slow in picking up things. Since it’s their preliminary stage in the field, they are slow in grasping the resourcefulness and creativity that graphic designing has to offer. Although they are eager to learn and broaden their creative faculties, the lack of adequate exposure and experience refrain them from grappling new ideas quickly.

‘Profound’ Pro:

This is the level that many graphic designers want to reach within their first year of practice. At this degree of creativity, the graphic designer develops problem solving skills and highly astute ways of getting work done. Here, the creative engine starts to ignite and the wheels of imagination start to run wild. But hold on…this is not the final stage yet. This is because in this level, the designer tends to become a little overconfident over his capabilities. The graphic designer still needs to understand the extent of freedom and limitation in graphic designing  .

‘Ingenious’ Einstein:

Many graphic designers don’t get to make it to this level. They strive really hard, but really cannot get that creative click that opens doors of ingenuity and tamed imagination. This is the stage where a graphic designer is so adept that he/she can come up with resourceful ideas to do the same thing in a different way. These ingenious graphic designers get interviewed to share their creativity and inspiring ideas for others to learn.

‘Magnificent’ Maestro:

This is the ‘Elite’ level of creativity, the level which is considered unachievable by many. This is where legends are born. These are the kind of people who can carry out their work and find time for creative ways to beat the heat at the same time. They are so resourceful that they can invent utility out of anything. They have the ability of turning a rock solid pile of coals into heaps of sparkling diamonds. Although this is not the ultimate degree of creativity as there are no limits to creativeness, it can be considered as practically the highest attainable level.

-DesignBlog

Filed Under: Graphic Design

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