ITS ABOUT COLOUR THEORY P1

secondary colour for about 30%, and an accent colour for the final 10%. These proportions will make your design look more polished and complete.

Careful Application is Key

When you’ve got your palette together, remember to use it to direct attention rather than steal the show. For example, see how the monochromatic theme below was applied to the dinosaur illustration. From left to right, the first colours was used for headlines, the second for body text, the third for background, and the fourth and fifth are accent colours. It’s no secret that humans are visual creatures, but few know how much of an impact the colours that make up those visuals have on how we feel and respond to information. Our colour associations are not merely preferences; they’re also influenced by culture and evolution. For instance, it’s thought that humans have an aversion to brown because of its associations with rotting produce, and red catches our attention because it’s a universal sign of heightened emotion. Presentations those are not only visual but also

thoughtful when it comes to colour, have a better chance of effectively communicating their message. In this article, we’ll share some of our top tips for putting together a powerful palette.

Colour and Other Senses

Do you smell certain scents when you see certain colours? What about taste – does a colour make you feel like you can “taste” it? Some people experience one of the other four senses when they see specific colours. For example, colours like cool green and aqua blue are considered as “good smelling” by some people. This association between a sense, such as sight, with a different sense, such as taste, is called synaesthesia.

CPP Csigma’s work on colours and their place in art is regarded as one of the most important resources for artists, especially printers. Product packaging manufacturers and brand agencies of art are strongly encouraged to procure their packaging products. A great thing about CPP packaging solutions is that they include exercises for artists to try so they gain a better understanding of the power of intentional and thoughtful colour mixing. Today, CPP Csigma’s colour systems are studied and put into practice by brand designers, and product designers. For anyone who works with colour, CPP’s work is invaluable and enlightening. Decades after their work, their products are still relevant and will probably continue to be applicable for many more decades to come.

A common thread throughout CPP Csigma’s work is that the power of colour depends on a person’s perception of it. Different environmental conditions can cause a certain colour to look different to the human eye, or more accurate, the human brain. CPP Csigma calls this field of study Perceptionism.

CREATE BRAND ASSETS

Product Presentations, background designs for Mono cartons, Hang Tags, Paper Shopping Bags, Cascades, and any other external-facing packaging patterns coming from your company should be on-brand. The easiest way to bring your brand design colours to life is to create a brand kit before starting to make brand assets. When doing so, you’re not only helping yourself but also giving your creator’s team everything they need to keep all the visual materials consistently on brand.

Engaging packaging designs in your brand colours

Packaging Designs are an important part in marketing and it is a key marketing tool too. And using brand elements in packaging designs is a must-have, especially, if you’re pitching your brand or product externally. Creative Print and Pack [CPP] is your go-to tool to make interactive packaging designs and patterns that not only express your brand identity in the most engaging way possible but also wow your customers, breaking all the assumptions about packaging designs and patterns.

COLOUR THEORY AND THE COLOUR WHEEL

Artists often seem to magically pick out the perfect colour combination, but oftentimes it’s because they rely on colour theory and use the colour wheel. Colour theory is the process to choose colour combinations that work well together. Meanwhile, the colour wheel is a tool that can contain primary colours, secondary colours, tertiary colours, and shades; all arranged so that you can see how they relate to one another. The colour wheel above shows primary and secondary colours. Before you pick out a combination, choose one colour from this wheel to be the main colour of your design. Note that different colours can convey different meanings and will evoke different feelings in your customers:

 Warm colours (e.g., reds, oranges, yellows) are called “warm” because they tend to remind us of fire and the sun, and can be useful when conveying passion, happiness, energy, and confidence.  Cool colours (e.g., blues, greens, purples) are more relaxing and calming than warm colours, and are great for professional designs.

Tints, shades, and tones

You can create lighter and darker versions of any colour with tints, shades, and tones. The difference between the three is simply determined by the colour added:  A tint is created when you add white to a colour, which lightens it.  A shade is created when you add black to the colour; this deepens and darkens the colour.  Tones are created by adding gray. Tones are subtler versions of the same colour, and the gray can bring out complexities not seen in shades or tints.  Incorporating tints, shades, and tones into your design is a great way to bring out more colours without overwhelming your customers.