Color For Profit. Louis Cheskin
package frequently is responsible for the greatest number of sales.
THE PACKAGE AS SYMBOL
In modern merchandising the package is a psychological tool planned to convey the character of the contents and to serve as an effective display.
COLOR FOR THE PACKAGE
In a package design, colors should have maximum psychological appeal, be symbolic of the contents and have highest visibility.
DESIGNING THE PACKAGE
Factors to consider are the size of the package, dimensions, shape, ease of handling, the space it will occupy, and the way in which the package is to be opened.
ARRANGING THE WINDOW DISPLAY
The display must attract attention and create a desire to examine the merchandise.
COLOR LIGHTS IN DISPLAYS
Color lights can be used effectively for providing attractive color environment.
COUNTER AND FLOOR DISPLAYS
Well-designed counter and floor displays will attract attention and hold interest.
DISPLAY POSTERS
The poster must attract people “on the go.”
COLOR-IN PUBLICATIONS ADVERTISING
The psychological effect of the specific color on the social group it will reach and the symbolic relationship of the color to the product are important.
LAYOUT
Scientific methods have taken pictorial effectiveness out of the realm of speculation and personal preference.
COLOR POWER IN THE PRINTED MESSAGE
Color can imbue the message with personality and distinction.
CASE HISTORIES OF COLOR POWER IN ADVERTISING
Changing from black and white to full color ads created 500 per cent increase in business.
PSYCHOLOGICAL ASPECTS OF THE ENVELOPE
The envelope provides the first contact and creates favorable or unfavorable impressions.
PSYCHOLOGICAL ASPECTS OF THE ENCLOSURE
The enclosure should be organized in keeping with the principles of composition and “eye-movement.”
CASE HISTORIES OF COLOR POWER IN DIRECT MAIL
Increases up to 450 per cent in direct mail returns have been reported by companies that have changed from black and white to color.
Appendix
For those who desire to go deeper into the scientific aspects of color
VE + M = C VISIBLE ENERGY PLUS MATTER EQUALS COLOR
Colors are the basic components of light. Light has colors only when it comes in contact with matter (substance). Color is actually a manifestation of the relationship between visible energy (light) and matter (substance).
CHEMICAL ASPECTS OF COLOR
Although the source of color is physical, the substances from which pigment colors are produced are chemical.
PHYSIOLOGICAL ASPECTS OF COLOR
The human eye is anatomically and physiologically equipped to receive all waves of visible energy (white light) as well as sections or divisions of visible energy (colors).
SAMPLE REPORT FROM COLOR RESEARCH INSTITUTE FILES
Tests, analysis, recommendations, and meaning of ratings.
INDEX
ILLUSTRATIONS
Muller’s Butter Cake point-of-sale poster
Muller’s point-of-sale poster for Sunrise Bread
Muller’s point-of-sale poster for Brown’n Serve
Chef-Way coffee decal
Old and new packages for Brown ’n Serve
Nu-Enamel’s old paint labels
Nu-Enamel’s new paint labels
Old and new Crisco labels
Old and new Jergens soap wrappers
Old and new Standard Oil signs
Bulk Service Stations trade mark
Holland Graphometer in operation
Graph showing reactions of three people to six basic hues
Brandt Eye-movement camera
Producing white light with the three primary colors
Geometric images with high preference and retention power
Chart of high preference colors
Measuring Color and Design Effectiveness
Scientific Approach to Color and Design
This book was prepared specially for those business executives, market researchers, advertising people, commercial artists, display men and creative salesmen who seek knowledge about using color and design as marketing tools. The material in this book does not deal with personal or subjective opinions but with the scientific application of color and design.
Using color and design scientifically means determining, by testing under controlled conditions, the optical and psychological effect of specific colors and images. It means eliminating personal taste and subjective judgment in choosing designs and colors for store and window displays, for packages, direct mail pieces and all advertising matter.
After reading this book it will become apparent that you cannot depend on personal judgment in using color and design as tools in marketing. You will learn why other people’s opinions regarding a piece of art or a color are not reliable guides. You will also become aware that polling gives no more accurate information about markets than about national elections.
The scientific procedures of testing color and design effectiveness and the psychological aspects of home furnishings, wearing apparel and store interiors are discussed in the first part of the book. The second part covers the application of color and design in the fields of package design, window displays, counter and floor displays, display posters, publications advertising and direct mail advertising as well as in all types of printed literature.
The optical and psychological aspects of color are presented concisely and briefly and actual case histories, mostly from the files of the Color Research Institute of America, are incorporated.
The appendix will be of interest to those who desire to become familiar with the basic physical, chemical and physiological aspects of color. Those who want to go still further into the psychological aspects of color and their application to home interiors and industrial interiors should read “Colors: What They Can Do For You.”
We have much evidence to show that people remember little of what they see and generally are not aware whether they have or have not seen an ad. For example, a proof of an unpublished advertisement was shown to a group that