Articles: colours

Colour appears here as a practical matter rather than decoration. The articles suggest where to start when building a palette, how to keep it under control across a growing set of materials, and why print can surprise anyone who has only ever seen the design on a screen.

Choosing a palette

The advice repeats itself: fewer shades, used consistently. Warm colours feel close and calming, cool ones bring order, and plain black and white can hit harder than a full rainbow. Most people settle on one lead colour, one supporting shade and one for highlights, then stay with them everywhere.

• character of the business - warm and welcoming, or calm and orderly
• legibility - pale text on a pale background disappears, dark on dark tires the eye
• restraint - three well chosen shades are usually enough
• strong colours in small doses - red draws the eye but wears people out in large areas
• consistency - the same shades on a leaflet, on a business card and online

Screen and paper

A screen makes its own light, while paper only reflects the light in the room. That is why the brightest, almost glowing shades on a monitor come out calmer once printed, and very dark backgrounds can feel less deep than expected. It is normal and easy to plan for: choose colours that survive a slight softening, and look at your design in daylight rather than only late at night under a lamp.

Colour that says something

A separate group of texts deals with associations: which shades read as elegant, when a soft blend between colours adds lightness and when it starts to get in the way, and how to handle a brand that carries several colours in its mark. They are worth reading before you order printing - colour is far easier to change while it is still an idea.