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What color is better on a red background. Colors that are well remembered

Any advertisement has a psychological impact on a person. But only quality products purposefully influence the consumer’s consciousness and subconsciousness. This is the main secret of its effectiveness. Unlike other types, outdoor advertising of food products is characterized by a large reach of the perceptive audience. Signs, posters, billboards (billboards, firewalls, skyboards), lighting installations with bright images of food products and laconic text are used as advertising sources. They are located almost everywhere, attracting our attention. Their main goal is a constant reminder of the product.

In outdoor food advertising, the psychological impact on the consumer is not only exerted by a color picture of a juicy fruit with drops of dew or a stream of a drink flowing from a colorful package. The font of the text also plays an important role.

* colored,

* unusual,

* large,

* easy to read,

* contrasting with the background of the shield in accordance with Figure 1.

Figure 1. Contrast between background and font.

Various types of advertising, especially direct mail, political or public relations campaigns, often use handwritten font. His psychological function- reducing the distance between the advertiser and the consumer by creating a trusting relationship using the font. However, this font is not acceptable for outdoor advertising. It is more difficult to read and much slower to perceive than such common font types in Russia as Times or Arial. Bold font types are most effective for perceiving text at a distance. If advertising material is perceived from a distance of 20 meters, then the height of the letters should be more than 3 cm. If the distance to the billboard is 50 meters, then the letters should be at least 5 cm.

The following color combinations can be considered “joyful” and therefore memorable by consumers:

* white on green,

* green on yellow,

* yellow on green,

* yellow on white.

“Sad” color combinations:

* blue on black,

* purple on black,

* black on blue.

Neutral color combinations:

* blue on blue,

* blue on white,

* purple on blue.

"Aggressive" color combinations:

* red on black,

* brown on blue,

* purple on black,

* blue on black,

* blue on brown,

* green on purple.

Among the many materials for outdoor advertising of products, consumers highlight billboards With contrasting combination of letters and background, and, therefore, remembers them better. Dark letters on a light background are perceived better than light font on a dark background in accordance with Figure 2. The usual combination of white and black is also unsuccessful.

Figure 2. Contrast between background and font.

The five most consumer-perceived contrasting color combinations of letters and backgrounds are:

* black letters on a yellow background,

* green on white,

* red on white,

* blue on white,

* white on blue.

However, if used inappropriately, the “halo effect” can be a disservice. For example, an image of a public figure or an erotic-looking woman attracts the consumer's attention to itself, distracting him from the advertised products, say, dark chocolate or baked goods.

Writing successful texts is one of the most important factors in PR events: a correctly composed speech will attract more listeners, a text constructed according to the rules of journalism has a greater chance of publication.

In order for the advertising text to attract the buyer, it is necessary to follow some rules. The advertising idea must be conveyed in the most optimal way and without unnecessary words. This does not mean that advertising text should be extremely short. The text advertising message should reflect the very essence of the advertised product, its quality, unique and distinctive characteristics in accordance with Figure 3.

All additional information that is not directly related to the advertised product reduces the effectiveness of advertising and creates certain barriers to the correct perception of information. A literate advertising message is the most important element of a successful text.

Advertising text with grammatical and spelling errors looks at least funny. Based on one such advertising text, a potential buyer will judge the entire company, which will certainly lead to a decrease in the company’s authority, trust in it, and therefore a decrease in sales. You should also select words in accordance with their meaning and avoid ambiguous words and phrases. In this case, you risk being misunderstood or, worse, misunderstood.

The placement of the text also plays an important role. Buyers are accustomed to the arrangement of words following each other from left to right, lines - from top to bottom. A different arrangement of the text occurs only when this is done without compromising the meaning of the advertising message and correct perception.

It is better to choose the color of the advertising text that contrasts with the background of the advertisement. Naturally, you cannot write in black letters on a black background; in this situation you need a light background (white, pink, etc.). It is better to choose colors that are compatible with each other (for example, yellow is combined with blue, green with orange, etc.), since the combination of colors has a beneficial effect on the human psyche, creating a pleasant image.

If an advertising series is being conceived, then the meaning of the text of one advertising message (and a complete one) should serve as the beginning of another, which, in turn, is a continuation of the first. External similarity and compositional unity will provide the effect of accumulation of individual advertising influences on the consumer. The importance of color in advertising is difficult to overestimate. Color is the most effective and cheapest way to attract attention. Its impact is immediate. It can attract or repel. Even before a person reads the text, the color will already deposit information at the subconscious level. What is the secret of such a powerful influence of color? One of the features of the perception of surrounding reality for most people is the visual system of perception. With our eyes we literally absorb what surrounds us. Color is precisely a property of objects in the surrounding reality. When developing a booklet, poster or other advertising product, it is important to think through the design: the placement of the text, the selection and placement of the picture, and of course the background in the color scheme against which the advertisement will be perceived best. The main thing in creativity is an idea that will captivate everyone around you. And color plays one of the leading roles. The color itself in advertising can become the main hyperidea.

Color theory is currently being explored in various scientific and practical fields: fine arts, creativity theory, color psychology, color science, coloristics. Let's look at four main ideas about color in advertising: classic, high-tech, mainstream and provocative.

· In the classics, everything is certain: strict tone, cultural traditions, connection to the type of advertising product.

· High-tech is a high-tech style that has enormous potential for growth and influence. All around us we see the real emancipation of this style, and often the use of its attributes is out of place.

· Mainstream is a fashionable movement. This trend, like fashion itself, is very changeable. It is impossible not to take into account the dominance of mass culture and the desire of most sellers to get into the consumer mainstream.

In this section, it is worth paying attention to young people. They are the ones who are ready to easily accept new things, abandoning traditional patterns. At the same time, they strive to copy the behavior of their peers.

· Provocation is a challenge to both classics and high-tech and even the mainstream. This is a departure from the rules and regulations. It could be something that provokes criticism from supporters of the classics, high-tech or mainstream. (for example, Malevich’s “Black Square” doused in green paint)

Considering high-tech or mainstream, you can determine the main color combinations:

On a white background, neutral tones of golden yellow, cream, bluish gray.

Bright lines/spots of red, orange, crimson, hot pink over large fields of metallic gray or other dull colors.

The same combinations, but on a darker background. Instead of a red-orange-raspberry combination, a juicy green one can appear.

The combination of orange and gray has become one of the main ones in high-tech. An interesting property of this combination, with minimal contrast in tone, is that it has maximum contrast in saturation. And choosing a third color for this combination is quite problematic: orange excludes all bright colors, and gray excludes all pale ones. In addition to gray, white and black are often used as the main colors. In the first case, neutral tones of golden yellow, cream, and bluish gray are added. In the second - pink, blue, beige, green.

In general, these styles open up a wide field for creative search for the best option when developing a design. In outdoor food advertising, the psychological impact on the consumer is not only exerted by a color picture of a juicy fruit with drops of dew or a stream of a drink flowing from a colorful package. The font of the text plays an important role.

Various types of advertising, especially direct mail, political or public relations campaigns, often use handwritten font. Its psychological function is to reduce the distance between the advertiser and the consumer by creating a trusting relationship with the help of the font. However, this font is not acceptable for outdoor advertising. It is more difficult to read and much slower to perceive than such common font types in Russia as Times or Arial. Bold font types are most effective for perceiving text at a distance. If advertising material is perceived from a distance of 20 meters, then the height of the letters should be more than 3 cm. If the distance to the billboard is 50 meters, then the letters should be at least 5 cm.

The color scheme of the billboard also has an important psychological impact on the consumer: the combination of the color of the letters and the background. His emotional perception can be classified according to the criteria “sad - joyful”, “aggressive - non-aggressive”.

It is important for product advertising designers to consider which color schemes the consumer considers "aggressive - non-aggressive." For example, a green apple against one background can evoke positive emotions and be perceived as tasty. On the other hand, it is sour and evokes negative emotions.

Color combinations with a light background are considered non-aggressive; blue on white is especially popular.

From a variety of materials for outdoor advertising of products, the consumer identifies billboards with a contrasting combination of letters and background, and, therefore, remembers them better. Dark letters on a light background are perceived better than light font on a dark background. The usual combination of white and black is also unsuccessful.

Consumer perception of panel color combinations changes as natural ambient light decreases. This significantly distorts the image of perception. In particular, at dusk on a billboard without artificial lighting, the red half of the spectrum appears darker than the blue-violet half. The green color becomes lighter than yellow. And blue is lighter than red, while during the day red is 10 times lighter than blue.

To increase the effectiveness of food promotion in outdoor advertising, the “halo effect” is often used. These are special technical techniques, as well as images that are familiar or unusual to the consumer, which attract attention to the advertised product. These are rotating or moving platforms on which billboards are installed; sexually themed photographs; images of unusual people or food; humorous images, fairy-tale characters, etc. However, if used ineptly, the “halo effect” can do a disservice. For example, an image of a public figure or an erotic-looking woman attracts the consumer's attention to itself, distracting him from the advertised products, say, dark chocolate or baked goods.

The "identification effect" is often used. This is the emotional connection between the depicted image and the consumer that arises when perceiving a billboard. For example, the expression of pleasure on the face of a girl eating ice cream is extremely impressive. The potential buyer involuntarily identifies himself with it, believing that he will receive the same pleasure from the product.

To ensure that the shield catches the consumer’s eye and holds his attention, the following methods are effective:

· important information should be placed at the top of the board, preferably in the upper right corner, since this is where the consumer’s gaze lingers longer in accordance with Figure 5.

· The price of the product must be indicated on the billboard.

The brilliant Russian writer, Nobel laureate Ivan Bunin proposed a color range for all letters of the Russian alphabet. The famous Lithuanian artist Čiurlionis created a world-famous color and music collection of works.

Much has been written about the color hearing of A. Scriabin, who saw musical sounds in color. An entire direction in art - color music - is based on this property of music sounds.

There is evidence that speech sounds, especially vowels, can also be perceived in color. A. Rimbaud even wrote a sonnet “Vowels”, in which he colored the sounds like this: A black; white - E; And - red; U - green; O - blue: I will tell their secret in turn...

But the French linguist K. Nyrop attributed completely different colors to vowels: he considered I to be blue, U to be bright yellow, and A to be red. The German linguist A. Schlegel wrote that for him I is sky blue, A is red, O is purple. But the Russian poet A. Bely claimed that A seems to him white, E - yellow-green, I - blue, U - black, O - bright orange. If we continue to name individual judgments about the color of vowels, then each sound will turn out to be painted in all the colors of the rainbow.

So, in this case, are there any definite sound-color correspondences at all? Isn't this fantasy? Or, perhaps, randomly arising unstable associations between sound and color. Or it is possible that sound connections are a consequence of exceptionally finely designed mechanisms of perception of individual people.

Different answers were given to these questions, but most often they agreed that the “speech sound - color” connection is a rare, purely individual phenomenon. Modern science recognizes a phenomenon as existing only when it is either directly observed, or manifests itself reproducibly in experiments, or is strictly calculated. Moreover, in any case, the last word remains with practice: it is necessary that the phenomenon functions observably or traces of its action are detected.

But where we are talking about the human psyche, everything looks different. Science, like a “picnic on the side of the road” zone, penetrates into this area still rarely and with difficulty, and having penetrated, it comes across incomprehensible “complete dummies” that it cannot open with its instruments. Mental phenomena are most often not directly observed, they sometimes appear in experiments, sometimes they don’t, they are difficult to calculate, and the traces of their functioning are uncertain, unsteady, and irregular. Especially in the area of the subconscious. Let's call it intuition. Everyone can remember cases when, as it seems to us, the right decision or action was prompted to us by intuition. Moreover, as it turned out in the process of working on artificial intelligence, a person in difficult situations makes a decision not by searching through all possible options, but heuristically, subconsciously, intuitively finds the right path. But on the other hand, intuition often fails. How can we understand when intuition whispers to us the right decision, and when it tricky pushes us into a dead end?

This is how it is with sound-color correspondences. If they exist, then who is right - A. Rimbaud or A. Bely. Whose intuition is more correct?

The idea of the experiments is simple: the reactions of many subjects to a certain stimulus are recorded, and then statistical processing of the resulting material follows in order to identify the main trends in the reactions. The registration technique is varied: subjects are either presented with speech sounds - they need to select colors for them, or they are presented with various color cards - they need to write sounds on them, or they are given the task to arrange the sounds by color, say, from “the reddest” to the “least red”, “most blue” to “least blue”, etc.

Many such experiments with thousands of informants have shown that in the overwhelming majority of subjects, at least the vowels are colored quite definitely. Opinions are especially unanimous regarding the three vowels - A, E, I. The sound and the letter (sound letter) A are quite consistently called red, E is clearly green, and I is definitely blue. Everyone considers the sound letter O to be light and bright, but although most subjects call it yellow, the answer “white” is still quite common. It turns out that it is sunny.

It is interesting that linguists consider the vowels A, O, E, I to be the main vowels, supporting ones for the human speech apparatus and the main ones in all languages. And physicists consider the colors corresponding to these vowels to be the main ones, because their combinations give all other colors and shades. This is what color photography and color television use. Is it not surprising that in language, the correspondences to the main colors turned out to be the clearest?

Apparently, the “collective intuition” of people is manifested here: the color structure of the world is reflected in the color structure of language. The names of the main colors occur most often in speech, and the sounds O, A, E, and I are the most frequent of the vowels. And between the names of the primary colors and these vowels, in turn, there is a connection: the name of a certain color contains a correspondingly “colored” sound, and it occupies the most important position in the word - the stressed position: red, blue.

The remaining vowels have a shading color, just like the colors with which they are associated, moreover, this connection is less clearly visible - there is a greater range of opinions among the subjects. So, U - is associated with dark shades of blue: dark blue, dark blue, dark blue-green, dark purple. The sound letter Yu is also associated with shades of blue, but with light ones: blue, light lilac.

The sound letter E behaves interestingly. In spelling, it is similar to E, and in sound, to O. And in terms of color, it is quite definitely located between the yellow O and the green EZH, approximately half of the subjects call it yellow, and half green. So Yo is a light yellow-green.

But I is almost no different in color from A, except that it is perceived as lighter and brighter.

As for Y, we should not talk about color, but rather about the light characteristic. If O is the sound letter of light, then Y is the sound letter of darkness, darkness. It is the darkest of all vowels, and subjects unanimously give it the darkest characteristics - dark brown, black.

It is curious that the perception, strictly speaking, of the consonant sound Y was clearly influenced by the graphic form of the letter Y, which conveys this sound. The similarity between Y and I also led to similar color assessments - Y is perceived as a blue sound letter, although with less certainty than I.

The letter E had to be excluded from the analysis. Although it conveys almost the same sound, which in most cases is conveyed by the letter E, according to the responses of the subjects, the green sound letter E does not work out: the letter form is different. And in general, no specific color is associated with E. And since E appears extremely rarely in texts (much less often than all other vowels), it was decided not to take it into account in further analysis of the texts.

Of course, not everyone’s sound-color correspondences are equally firmly anchored in the subconscious. There are subjects who in all experiments show clear and uniform results that coincide with the “collective opinion” of all respondents, and there are also those whose answers in different experiments are contradictory, unstable, and no specific coloring of sounds can be traced from their answers. Well, well, colorblind people do not see the color of objects, but this does not mean that the color of objects does not exist. It is important that the majority of subjects, in general, consistently and fairly uniformly establish very definite connections between sound and color, although almost no one is aware of this.

If correspondences between speech sounds and certain colors exist, even in the subconscious, then they must manifest themselves somewhere, the sound color must somehow function in speech. And perhaps, first of all, we need to look for manifestations of sound-color halos where the sound side is especially important. The effect of sound color can play a role in the case when a certain color picture is created, and the pattern of vowels should support, “illuminate” this picture with sounds of the corresponding color.

If this is so, then it is natural to expect that when describing, for example, red objects and phenomena in the text, the role of red A and Z will be emphasized; they will occur more often than usual, especially in the most important, most visible positions (say, drums). The description of something blue will be accompanied by the intensification of blue I, U, Yu; green - by pumping E, E, etc.

Mmmmmm... here I quoted a post about how to remove radio creep from your blog. I read it carefully - what a long procedure, between us!
But that’s not about that now. About frames, background and font color and about your eyes and psyche. Because what is written in red on black is, in my opinion, a disaster for your vision and mood.)))))))))))))))))))))))))))))) )))))))))))))
So.

Table for clarity:

White - openness and neutrality
This is the background of black or blue font in a notebook, as well as the color of the font on the black background of the blackboard in the classroom, laid down for us since childhood. The contrast of a white font goes well with red, green, blue and black backgrounds, and a white background with the same font colors. The effect of white font on the user with different background colors:
red background - attracting attention to information;
black background - increased attention to background information and conclusion;
green background - soft information about problems;
blue background - convincing formation of the essence of information.

Blue - tenderness and softness
It is the color of harmony, friendship, affection and kindred spirits. The blue font does not contrast well against the backgrounds shown, but the blue background pairs well with the black, red, yellow, and white font colors. The blue background is used to lull the visitor's caution into action and also encourages him to make innovative decisions.

Yellow - sociability, sociability and openness
This is the color of balance and inner harmony; it is well remembered and perceived by cheerful, active people. Color activates the development and activity of thought; it is not for nothing that one of the directions for presenting information is called the “yellow press”, since it provides a long discussion of its information. The yellow font color contrasts well with the black, blue, green and red background, and the background with the black, blue, green and red font colors. The effect of yellow font on the user with different background colors:
black background - tertiary information and conclusion;
green background - soft information about small possible problems;
blue background - convincing formation of the detailed essence of business information.

Green - relieving nervous tension and acuity
This is the color of calm, reducing pain and fatigue, and promoting balance. Associations evoked by color are freshness and naturalness. The contrast of the green font goes well with the yellow and white background, and the background with the yellow and white font. The effect of green font on the user with different background colors:
white background - attracting attention to pleasant information;
yellow background - display of unpleasant information;
blue background - remembering the essence of business information.

Brown - stability, realistic mood
This is the color of self-sufficient people. The brown font goes well with the blue, yellow and white colors, and the background with the yellow and white font color. The effect of brown font on the user with different background colors:
white background - enhances the attributes of information;
yellow background - reinforces the guaranteed result in the user’s mind;
blue background - strengthens the cohesion of users in the team.

Red - tension, attention, action
This is an attention-grabbing color. Red font goes well with black, blue, yellow and white background colors, and red background with black, white and yellow font colors. The effect of red font on the user with different background colors:
white background - highlighting important information;
black background - boredom;
yellow background—unification of users;
blue background - the desire of new users to unite.

For some reason, nothing is written about the color black. Here's something I found:

Black- First of all, of course, the color black is associated with something sinister, secret, and terrible. (Black magic, a black cat are symbols of evil witchcraft, devilish forces, a black hand is a character of childhood fears, a black box is a complex, closed system).

Emotions and associations: power, sophistication, nervousness.

The strongest of neutral colors, black, appears on almost any website. It can evoke different associations depending on the colors accompanying it, or dominate them if used in excess.

The power and neutrality of black make it a great choice for large blocks of text, but as a primary color it can create a feeling of nervousness or even be associated with evil.

For most websites, black is used to create a sense of sophistication. The combination of black and white in a minimalist design creates an impression of elegance and style.

Yes, that's it.

As for the frames and fluttering sparkles, they are terribly awkward and tasteless. When I see it on a blog, I just switch to another one. I’ll only read it as a last resort if I desperately need information.

Good luck choosing colors for the background and font!

A person has the ability to see the world around him in all its diversity of colors and shades. He can admire the sunset, emerald greenery, bottomless blue sky and other beauties of nature. The perception of color and its effect on the psyche and physical state of a person will be discussed in this article.

What is color

Color is the subjective perception by the human brain of visible light, the differences in its spectral structure perceived by the eye. Humans have a better ability to distinguish colors than other mammals.

Light affects the photosensitive receptors in the retina, which then produce a signal that is transmitted to the brain. It turns out that the perception of color is formed in a complex way in the chain: the eye (neural networks of the retina and exteroceptors) - visual images of the brain.

Thus, color is an interpretation of the surrounding world in the human mind, arising as a result of processing signals coming from the light-sensitive cells of the eye - cones and rods. In this case, the former are responsible for the perception of color, and the latter are responsible for the acuity of twilight vision.

"Color Disorders"

The eye reacts to three primary tones: blue, green and red. And the brain perceives colors as a combination of these three primary colors. If the retina loses the ability to distinguish any color, then the person also loses it. For example, there are people who are unable to distinguish from red. 7% of men and 0.5% of women have such features. It is extremely rare that people do not see colors around them at all, which means that the receptor cells in their retina do not function. Some suffer from weak twilight vision - this means that they have weakly sensitive rods. Such problems arise for various reasons: due to vitamin A deficiency or hereditary factors. However, a person can adapt to “color disorders”, so without special examination they are almost impossible to detect. People with normal vision are able to distinguish up to a thousand shades. A person's perception of color changes depending on the conditions of the surrounding world. The same tone looks different under candlelight or sunlight. But human vision quickly adapts to these changes and identifies the familiar color.

Shape perception

Exploring nature, man constantly discovered new principles of the structure of the world - symmetry, rhythm, contrast, proportions. He was guided by these impressions, transforming the environment, creating his own unique world. Subsequently, the objects of reality gave rise to stable images in the human mind, accompanied by clear emotions. The individual’s perception of shape, size, and color is associated with the symbolic associative meanings of geometric figures and lines. For example, in the absence of divisions, the vertical is perceived by a person as something infinite, incommensurable, upward, light. A thickening at the bottom or a horizontal base makes it more stable in the eyes of the individual. But the diagonal symbolizes movement and dynamics. It turns out that a composition based on clear verticals and horizontals tends toward solemnity, staticity, and stability, while an image based on diagonals tends toward variability, instability, and movement.

Double impact

It is a generally accepted fact that the perception of color is accompanied by a strong emotional impact. This problem was studied in detail by painters. V. V. Kandinsky noted that color affects a person in two ways. First, the individual experiences a physical effect when the eye is either fascinated by the color or irritated by it. This impression is fleeting when it comes to familiar objects. However, in an unusual context (an artist’s painting, for example), color can evoke a strong emotional experience. In this case, we can talk about the second type of influence of color on an individual.

Physical effects of color

Numerous experiments by psychologists and physiologists confirm the ability of color to influence a person’s physical condition. Dr. Podolsky described human visual perception of color as follows.

Blue color - has an antiseptic effect. It is useful to look at it during suppuration and inflammation. Helps a sensitive individual better than green. But an “overdose” of this color causes some depression and fatigue.
Green color is hypnotic and analgesic. It has a positive effect on the nervous system, relieves irritability, fatigue and insomnia, and also improves blood tone.
Yellow color - stimulates the brain, therefore helps with mental deficiency.
Orange color - has a stimulating effect and speeds up the pulse without raising blood pressure. It improves vitality, but can become tiring over time.
Purple color - affects the lungs, heart and increases the endurance of body tissues.
Red color has a warming effect. It stimulates brain activity, eliminates melancholy, but in large doses it is irritating.

Types of colors

The influence of color on perception can be classified in different ways. There is a theory according to which all tones can be divided into stimulating (warm), disintegrating (cold), pastel, static, dull, warm dark and cold dark.

Stimulating (warm) colors promote arousal and act as irritants:

red - life-affirming, strong-willed;
orange - cozy, warm;
yellow - radiant, contacting.

Disintegrating (cold) tones dampen excitement:

purple - heavy, in-depth;
blue - emphasizing the distance;
light blue - a guide leading into space;
blue-green - changeable, emphasizing movement.

Mute the impact of pure colors:

pink - mysterious and delicate;
purple - isolated and closed;
pastel green - soft, affectionate;
gray-blue - discreet.

Static colors can balance and distract from exciting colors:

pure green - refreshing, demanding;
olive - softening, soothing;
yellow-green - liberating, renewing;
purple - pretentious, sophisticated.

Deep tones promote concentration (black); do not cause excitement (gray); extinguish irritation (white).

Warm dark colors (brown) cause lethargy and inertia:

ocher - softens the growth of excitement;
earthy brown - stabilizes;
dark brown - reduces excitability.

Dark, cool tones suppress and isolate irritation.

Color and personality

The perception of color largely depends on the personal characteristics of a person. This fact was proven in his works on the individual perception of color compositions by the German psychologist M. Luscher. According to his theory, an individual in a different emotional and mental state can react differently to the same color. Moreover, the characteristics of color perception depend on the degree of personality development. But even with weak mental sensitivity, the colors of the surrounding reality are perceived ambiguously. Warm and light colors attract the eye more than dark ones. And at the same time, clear but poisonous colors cause anxiety, and a person’s vision involuntarily looks for a cold green or blue tint to rest.

Color in advertising

In an advertising message, the choice of color cannot depend only on the taste of the designer. After all, bright colors can both attract the attention of a potential client and make it difficult to obtain the necessary information. Therefore, the perception of an individual’s shape and color must be taken into account when creating advertising. Solutions can be the most unexpected: for example, against a motley background of bright pictures, a person’s involuntary attention is more likely to be attracted by a strict black and white ad rather than a colorful inscription.

Children and colors

Children's perception of color develops gradually. At first, they only recognize warm colors: red, orange and yellow. Then the development of mental reactions leads to the fact that the child begins to perceive blue, violet, indigo and green. And only with age does the baby become available to all the variety of color tones and shades. At three years old, children, as a rule, name two or three colors, and recognize about five. Moreover, some children have difficulty distinguishing basic tones even at the age of four. They poorly differentiate colors, have difficulty remembering their names, replace intermediate shades of the spectrum with the main ones, and so on. In order for a child to learn to adequately perceive the world around him, he needs to be taught to correctly distinguish colors.

Development of color perception

Color perception should be taught from a very early age. The baby is naturally very inquisitive and needs a variety of information, but it must be introduced gradually so as not to irritate the child’s sensitive psyche. At an early age, children usually associate color with the image of an object. For example, green is a Christmas tree, yellow is a chicken, blue is the sky, and so on. The teacher needs to take advantage of this moment and develop color perception using natural forms.

Color, unlike size and shape, can only be seen. Therefore, when determining tone, a large role is played by comparison by superposition. If two colors are placed side by side, every child will understand whether they are the same or different. At the same time, he does not yet need to know the name of the color; it is enough to be able to complete tasks like “Plant each butterfly on a flower of the same color.” After the child learns to visually distinguish and compare colors, it makes sense to begin choosing according to the pattern, that is, to actually develop color perception. To do this, you can use the book by G. S. Shvaiko entitled “Games and game exercises for speech development.” Getting to know the colors of the world around us helps children feel reality more subtly and more fully, develops thinking and observation, and enriches speech.

Visual color

One British resident, Neil Harbisson, conducted an interesting experiment on himself. Since childhood, he could not distinguish colors. Doctors found he had a rare vision defect - achromatopsia. The guy saw the surrounding reality as if in a black and white movie and considered himself a socially cut-off person. One day, Neil agreed to an experiment and allowed a special cybernetic instrument to be implanted into his head, which allows him to see the world in all its colorful diversity. It turns out that the eye's perception of color is not at all necessary. A chip and antenna with a sensor were implanted in the back of Neil's head, which picks up vibration and converts it into sound. In this case, each note corresponds to a specific color: F - red, A - green, C - blue, and so on. Now for Harbisson, a visit to the supermarket is akin to visiting a nightclub, and an art gallery reminds him of a trip to the Philharmonic. Technology gave Neil a sensation never before seen in nature: visual sound. The man makes interesting experiments with his new feeling, for example, coming close to different people, studying their faces and composing music for portraits.

Conclusion

We can talk endlessly about color perception. An experiment with Neil Harbisson, for example, suggests that the human psyche is very plastic and can adapt to the most unusual conditions. In addition, it is obvious that people have a desire for beauty, expressed in the internal need to see the world in color, and not monochrome. Vision is a unique and fragile instrument, the study of which will take a lot of time. It will be useful for everyone to learn as much as possible about it.

Bright colors attract buyers

How to attract customers with color?

Color spectrum, in which the store is located, provides strong impact on the visitor in the process of choosing a product and making a purchase. Each color sends a conditioned signal to the client’s subconscious and awakens a certain emotion in response. We invite you to familiarize yourself with the basic laws of color psychology.

Statistics show that perception deteriorates in the following order:

black letters on a yellow background
black letters on a white background
yellow letters on a black background
white letters on a black background
blue letters on a white background
white letters on a blue background
blue letters on a yellow background
yellow letters on a blue background
green letters on white background
white letters on a green background
brown letters on a white background
white letters on a brown background
brown letters on a yellow background
yellow letters on a brown background
red letters on a white background
white letters on a red background
red letters on a yellow background
yellow letters on a red background

But the impact of advertising media is just the opposite, which is why Red color usually used to highlight price tags with discounts and promotions. Most often, a red background and yellow or white text are used for this.

And for store decoration they use less provocative combinations.

Under influence warm colors(shades of red, yellow and orange) buyers usually feel a surge of energy, these shades stimulate the psyche. Therefore, experts recommend using them to “warm up” store visitors.

Cold spectrum colors (shades of blue, cyan and violet), on the contrary, reduces nervous system activity. Under their influence, store customers feel more relaxed and calm.

Warm colors: buy without hesitation!

The strongest in the warm range is, of course, Red color . Red is able to activate all functions of the body: under its influence, breathing accelerates, muscles tense, and the heartbeat quickens. Properly placed accents on red in the interior of the store may increase number of impulse purchases.

Discount promotions

However, with red you should be more careful and use it precisely as accents, and not as the main background. Overdoing it with red can make shoppers overly impatient, anxious, and cause them to quickly leave without making a purchase.

The surge of energy causes Orange color, but its excess in space is annoying, therefore, like red, it is harmonious only in the form of an accent color.

Pastel shades of orange evoke associations with beauty and golden tan. They are often used in the design of sales areas with goods for women.

Yellow stronger than others attracts attention, so perfect suitable for decoration various promotions and special offers.

Marketers noted that in combination with red yellow is associated from buyers with affordable prices. Therefore, this color scheme is very often used in discount stores.

Cool colors: enjoy a calm choice

Cool colors and their shades do a great job creating in the store relaxing and calm atmosphere.
Buyers influenced by blue, cyan, violet spend more time studying shop windows and choice, worry less about possible expenses. The cool range of colors is the most appropriate in expensive stores or those in which there are often queues.

Blue associated with constancy and usually causes feeling of well-being. It helps to better assimilate information and promotes trusting communication, therefore it is most suitable for decorating luxury goods stores, the purchase of which occurs after weighing all the pros and cons.

Colors that are well remembered

Of course, everyone who came across the concept of “correction by numbers” also came across the term “memorable colors”. The first thing that comes to mind is the thought of some tables where it will be written what CMYK values should be set for certain colors in order for everything to be correct. In fact, such tables, as far as I know, do not exist. In fact, it is not the quantities of specific colors that are important, but their ratios, which can also vary, but within certain reasonable limits. Therefore, it is necessary to imagine the usual relationships of colors in colors more or less familiar to the eye and acquire common sense and a certain observation ability. Well, let's try to figure it out?

It is logical to assume that the viewer is most likely to immediately notice the shade in neutral colors. Let's start with them. As anyone who has dealt with printing knows, blue ink is the weakest, therefore, in neutral colors there should be slightly more of it than yellow and magenta (black is neutral by definition). How much more? Margulis suggests the following: in the highlights - 2-3 points more, in the midtones - 6-7 points, in the shadows - 9-10 points. Perhaps someone will offer slightly different numbers, the only important thing is that they will not differ too much from these. Where can we expect neutral colors to be present? This is where we need common sense. Probably, these could be shiny metal surfaces, stone, white fabrics, porcelain, and much more that we are accustomed to perceive in everyday life as objects of a neutral color. Now we have a support to catch the unwanted shade.

The next “memorable” color, which is considered very important, is flesh. Common sense dictates that there are a lot of options here. After all, it is not at all necessary that all people have the same skin tone as Britney Spears, forgotten in a solarium for two hours! On the other hand, the same common sense whispers that if there is more or the same amount of magenta in the face as yellow, and the number of these colors is large enough, then we will get red. You can remember people with red faces, for example, the previous US President, who suffered from a skin disease, or our previous President, after an unscheduled “rest” on an airplane. But these are exceptions. As a rule, there will be slightly more yellow than magenta (for dark-skinned people, one third). For people living in the north, an almost equal ratio of yellow and magenta will be relevant. The cyan should be between one-fifth and one-third of the purple. Keeping in mind that, for the most part, we do not live in Miami, and are not inclined to spend the night under solarium lamps, we can safely assume that the content of blue paint in flesh colors is not too high. As a rule, there should not be black paint on faces unless we are talking about representatives of the Negroid race and mulattoes.

Another color that is considered “memorable” is the color of natural greenery. Although, hand on heart, it cannot be said that most of us see nature often enough. Well, what is there! Let's deal with him too. In natural shades of green, the ratio of yellow to cyan will almost always be in favor of yellow. Accordingly, cyan will be 50% yellow or more. And, of course, there will always be less magenta than cyan.

Memorable shades of blue, of course, can most often be seen in photographs where the sky is visible. Bearing in mind the weakness of blue paint, we conclude that the cyan content in the image of heaven should always be greater than magenta. Otherwise our sky will turn out purple. A significant yellow content relative to cyanogen leads to the appearance of a greenish tint. And if we are not correcting an illustration for a booklet about the southern seas, we can be sure that this shade is superfluous.

We can recall dozens and hundreds of other cases when, in relation to a particular color, we can say with confidence what it can be and what it cannot be in any case. These colors will be “memorable”. Thus, when looking at a specific image, we need to look for specific colors about which we can make more or less reliable guesses. Faced, for example, with a photograph of a storm at sea, we can think about the colors of the caps on the waves, guided by the general lighting: if we see that in front of us is not the sea at sunset, then they may have a yellowish tint (the water is not distilled), but it is unlikely whether they will be reddish. If, on the contrary, we have all the signs of sunset, then it is almost certain that our lambs will begin to acquire a pinkish (hence, magenta) tint.

So, almost any color can be memorable. The only thing we really have to keep in mind is understanding how individual paints affect the final color. An equal combination of yellow and magenta will give all shades of bright red (the color of a fire engine, according to Margulis). If there is a little less magenta than yellow, we get a scarlet shade of red. Further, as the amount of magenta decreases, the color will turn orange, etc. Too much magenta will make the color crimson and cooler. Similarly, one can imagine the influence of the remaining colors of the triad.

Now a few words about the advantages and disadvantages of the “numerical” approach. Let's start, of course, with the advantages. This approach allows for effective correction even on an uncalibrated monitor. Brightness and contrast, however, need to be set correctly, but you can do this using software. It is common knowledge that many companies are happy to hire colorblind people as color correctors and scanning operators. This is a clear example that the numerical method is not only legitimate, but sometimes preferable. I think this fact will be appreciated by many of those who have encountered the problem of calibration and color rendering settings.

And now about the shortcomings. By incorrectly identifying the “memorable” color, we risk getting into trouble and finding out about it only when it is too late to correct anything. Margulis cites as an example a failed correction made by a colorblind person who mistook a light yellow label on a bottle for a white label and thus ended up with a noticeable blue tint in the lights. I also happened to find myself in a similar situation. I was editing a photo of a white cat taken with a digital camera with flash. The animal was bright blue, there was virtually no detail in the red and green channels, and the blue channel was also terribly noisy. As a result of titanic efforts, using all the recommendations of Margulis, all the color spaces, swearing, mixing channels and magic spells, I managed to achieve very good results in terms of sharpness, contrast and detail. But, having finally looked at the real cat and compared it with the results of my work, I began to bite my elbows: my cat turned out to be completely different from the original. Of course, the error turned out to be ridiculously trivial: incorrect determination of the white point. Taking, purely mechanically, the lightest place on the animal’s face as the white point, I made the cat white. Namely, this is in no way consistent with either reality or, therefore, with common sense. Have you ever seen an animal with completely white fur? Personally, I don't. My cat's fur had a barely noticeable yellowish-cream tint. And if the real cat’s shadows were warm, then mine were neutral, and in some places a little cold. In my case, this could only upset the cat’s owner, who was madly in love with him, but it could have been much worse if she had turned out to be the customer.

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