© Copyright Micro Academy 2005

Information Technology & Colour
The impact of proportionate size and tonality

WARNINGS
The effect of broken alignment and maximum tonal (black/white) contrast with the largest type face makes a peak impact on an observer, like a piercing scream in sound, and carries urgent but minimal information.

ORDERS
A proportionately bold type-face with the maximum tonal contrast with the ground will convey the effect of an order or command and will carry more information than the above.

DATA
A smaller, clearly legible alphabet will convey a great deal more information and is likely to be capable of conducting conversation.

SUBSIDIARY
An alphabet that is broken or a lot smaller and in a tone of grey that is close to the tone of the ground is likely to be ambiguous and less legible, like a whisper in sound.

Lettering close to the tone of the ground may be invisible to some and act as subliminal to others. Some forms of subliminal advertising are illegal.

The impact of specific colours

The most visually striking opposition of tone and colour is that of a high intensity yellow and a black or any dark colour especially a dark purple. On the other hand purple comes to it highest degree of saturation at a lower tone value than any of the other hues. Hence it stands up well against white as a peak impact hue*.

Red, the traditionally most attention-receiving colour is received by only one set of cones in the eye, where yellow is perceived by two sets of cones. so red lettering needs to occupy a larger area to be really effective.

The eye is especially sensitive to greens, so green can be effective for a high level of precise and legible communication in smaller type faces than the other colours.

Blue tends to focus less well and is especially good for expressing ambiguity and mystery.

Purple on black , and yellow on white, are invisible to some and produce subliminal effects for others. Perhaps best seen by the young with very good vision.

*Flicker, dazzling and disorieniing effects can be produced by using lettering in strong colours on grounds of the opposite colours.

For more information See NILSSON, T. (2006) Standards for Color Legibility. Charlottetown, P.E.I. Canada.