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.”

What Polling Taught Us

      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