OUGD404 - Studio Brief 01 - The Use of Colour in Graphic Design

The use of colour within Graphic Design is a very subjective matter, as it's uses and meanings can be dependent on both social and cultural backgrounds, as well as personal preference. For example, in China, the colour red is symbolic of happiness and prosperity, whereas in South Africa the same colour is associated with the act of mourning.

Colour is said to be the most influential aspect of design, based on the functionality of our senses. For this reason, it is important within branding that the use of colour is well thought-out and effective to have an accurate representation of a specific brand. According to research, the use of colour can increase brand recognition by up to 80%, showing how colour influences our views of brand identity.

In Josef Albers' publication, 'The Interaction of Colour', it is suggested that when two colours use the same value they can be seen to 'vibrate'. This effect is produced because we see more value of a colour than its hue, which makes it uncomfortable for the eye to look at. This idea is also an important consideration within Graphic Design, especially typography. For type to be legible, there must be a sufficient tonal contrast between coloured type and a coloured background. Otherwise this vibration effect may be produced, making it hard to look at and read. Within colour theory, this effect is known as a simultaneous contrast and was identified by Swiss expressionist painter and designer, Johannes Itten. This contrast can be seen particularly when the colours red and green are used together. Other contrasts identified by Itten are: contrast of saturation, contrast of light and dark, contrast of extension, contrast of complements, simultaneous contrast, contrast of hue, contrast of primary hues and contrast of warm and cool, which act as ways to coordinate colours according to their hue and contrasting properties.

The contrast of saturation is produced through the juxtaposition of light and dark colour values and their relative saturation. The contrast of extension, also known as the contrast of proportion, is produced through the use of proportional field sizes in comparison to the visual 'weight' of a particular colour. Contrast of light and dark is also formed through juxtaposition, this time of a colours light and dark values. For example, a monochromatic composition. Similarly, the contrast of warm and cool is produced through the juxtaposition of hues that are considered both warm and cool. The contrast of compliments is formed when using opposites on a colour wheel, whilst the contrast of primary hue is formed when using primary hues. For example, red, blue and yellow. Lastly, the contrast of hue is produced when there is a large distance between hues on a colour wheel to create a larger contrast. Again, these contrasts can be greatly influential within graphic design and typography, as they can establish object recognition, enhance the meaning of your work, convey structure, establish identity and even help in the speed of visual communication and search. For example, in Massimo Vignelli's 1972 design for the New York Subway's wayfinding system, a different colour represented each line to aid with this idea of visual search. The same idea can be seen in the London Underground System and reiterates the importance of colour in representation, as it is commonly known that, for instance, the colour yellow represents the Circle Line.

In conclusion, colour can be considered as the most important aspect within all Graphic Design. It can be extremely effective when used correctly and appropriately, however when used with no thought behind, it can also have a disastrous effect and convey the opposite of that intended, ultimately producing a misrepresentation of your brand, for instance. But, as stated at the beginning, colour is subjective and as Josef Albers stated, "anyone who predicts the effect of colours proves that he has no experience with colour.