Volume I | Issue no. 5
The Emotional Impact of Color LogosColor is the second most powerful element in creating brand recognition. It is also the most subjective element because it triggers strong emotions. Individuals, as well as cultures, perceive color differently. We often associate it with a variety of events, rites of passage, and objects. Things we taste, such as a lime or orange, generate color imagery. So does the scent of a pine forest or a bouquet of lilacs. Certain colors are often associated with emotions, such as blue with loyalty, yellow with cowardice, and purple with spirituality. Some ancient societies believed in the healing power of color: red for energy, blue to reduce allergies. Although modern society is skeptical of such “powers”, consider this: babies born today with jaundice (a yellowing of the skin) are treated by exposure to a blue light which triggers a positive metabolic reaction. In western cultures, some wear white to symbolize cleanliness, virtue or chastity. In China, white is associated with grief and mourning. In western culture black has negative associations — the dark side, blacklisted, the Black Plague, black magic and death. Our language uses color in euphemisms — the grass is always greener, don’t be a yellow belly, or his face was red as a beet. In the past few years the color green has taken on newfound meaning while becoming the color and word of the decade. Whether through subjectivity, spirituality or science, colors create meaning in our world. Research shows that 60% of a decision to buy a product is based on color. Sometimes that color is not defined in the logo itself, but how it is applied to the overall brand to stimulate recognition. UPS utilizes brown as their signature color on vehicles and uniforms, and even verbally in their campaign slogan “What can Brown do for you?” Tiffany’s is infamous for their little blue box and Target uses red everywhere. But be careful: similar industries often use similar color palettes. Many beach resorts and coastal destinations use medium soft blues with some soft yellows and/or oranges in their palettes. Ski resorts tend to use a lot of cold blues and white. This is why carefully considering color palette for your destination brand is critical as you move forward with the implementation of your logo and the brand identity grid. | ||
This is a wonderful article. Beautifully and cleanly written. The documentation is persuasive and relevant. A terrific job on a potentially dull subject.
Thanks for this great, detail-packed newsletter. I really enjoyed your examination of logos from different angles. Design is not my strong suit, but I once heard something that seemed to make a lot of sense and stuck with me. I was told that a good logo can be easily drawn in the sand with a stick. I've measured the logos that have struck me as effective over the years against this principle, and it has really stood the test. The Windham logo you mention certainly passes this test. I'd love to read your thoughts on this.
Mark
There is some truth to your comment about being able to draw a logo from memory. I don't necessarily apply 'anyone has to be able to draw it' rule in order for a logo to be a good logo, but that benefit can help a logo have what I call the sticky factor.
Take for example the Peace Symbol. Anyone can draw it and they did - and still do. There are very few symbols that work that way and certainly very few that have become a movement. But because everyone can draw it and get it right, even if it is a scribble it can be adopted easily and grow. This enables that sticky factor. That doesn't mean it is a well designed logo, only a sticky one.
I loved reading this. It definitely took me back to your Graphic Design for Corporate Identity class, and helped in brushing up on my brand identity knowledge. Especially since I have to rebrand how the United Arab Emirates is viewed on the web. Thanks!
Thank you for sharing. It's always great to go back to the core of branding and remember why a logo is so important. This has reminded me that my love really is graphic design, something I seem to slowly be forgetting while working in the toy industry.