Q2 • 2024


INSIGHTS


Don’t overlook color symbolism. Regardless of any underlying physiological effect, colors often have different meanings in different cultures. Because red is considered lucky in India, McDonald’s leans heavier into the color there than it does in other markets. In fact, the Swedish McDonald’s website barely showcases red at all, opting for green instead to suggest eco-friendliness.


Don’t include too many colors. Incorporating too many colors dilutes the messaging and defeats the purpose of having a brand palette. Two or three main or primary colors and another two to four secondary and tertiary hues should suffice. If your brand is a more traditional one, consider a tighter palette; if it’s more playful or unconventional, or if the inclusion of a range of colors has a historical relevance, you can go a bit broader. You’ll want the palette to encompass at least a few neutrals, and the colors should vary in tone—in other words, don’t go for all brights or all pastels. Even if the brand personality is one of softness and comfort, you need at least one darker color for contrast and legibility, if nothing else.


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Do ensure the colors work for both print and digital.


It’s less a matter of being “digital first” orirst” or “print first” and more of making ce tain that your print CMYK colors translate into digital RGB colors, and vice versa. E en if the brand is currently digital only, with no packaging or even stationery to contend with, you can’t assume that will always be the case.


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RGB color tones tend to be brighter than CMYK tones; a yellow that sings on-screen can shout in print. Such visual discrepancies aren’t the only thing to consider regarding your digital palette. You have to ensure that when used online, your colors comply with Web Content Accessibility Guidelines (WCAG). Among other things, this means that there’s enough contrast for readability even by those with a sight disability such as color blindness. Certain colors in and of themselves might be fine, but when used together—with one for type atop another as background, say—they might not be easily readable. You should also avoid extremes such as pure black and pure white, which can strain some viewers’ eyes. Fortunately, numerous tools exist so that you can test your palette for WCAG compliance.


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Do check for consistency across media and devices. Even once you’re confident that your RGB and CMYK palettes match and that your digital palette is WCAG compliant, you need to consider the multitude of scenarios in which the colors will be viewed. Some designers find that colors look much brighter on Apple devices than on other digital screens; print specialists have long known that a paper’s stock and finish sometimes dramatically alter a color’s brightness or muddiness.


It’s less a matter of being “digital first” or “print first” and more of making certain that your print CMYK colors translate into digital RGB colors, and vice versa.


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calibrations differ among individuals’ computers. And don’t forget that many people use dark mode on their devices, which with some applications, such as email, might automatically change everything that’s white into black. While you have no way of adjusting for every color calibration out there, you can do your best to be certain that your brand palette is adaptable to dark mode and communicates your message to an acceptable degree regardless of the user’s device.


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Do consider zigging where others zag. Certain colors are all but ubiquitous within market categories. Among convenience store brands, for instance, Buc-ee’s, HyVee, Kwik Trip, QuikTrip, Sheetz, and Wawa play up a red tone similar to that of stop signs. Obviously, these businesses would want to use an attention-getting color synonymous with stopping to encourage drivers to stop by for their gasoline and snacks. It also helps that because these are largely regional brands, they don’t all appear in all the same markets.


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