apt blog

Membership Body Lobbying

We have been working with a number of membership organisations for many years now.  As one of the ways to cement our commitment to membership marketing we became a Memberwise Recognised Supplier a few years ago, alongside regularly attending the annual conferences.

We recently gave a Membership Body Lobbying Masterclass at the MEMX Conference in April, alongside our client BABTAC (British Association of Beauty Therapy & Cosmetology).  We lobbied on behalf of BABTAC as part of the Cosmetic Interventions review carried out by the Department for Health following the PPI scandal, which began back in 2012 although the final report was only released late in 2016.

We thought it would be a useful to tool to share our thoughts on things to consider before you start the lobbying process and the key challenges you may face...

Before you start, there are three questions that you need to ask yourself, your group or your wider membership. These are:

1. Does it directly impact your industry? If the answer is yes, then lobbying can or should be a part of your toolkit to combat any adverse effects. If it doesn’t then you need to assess how it might affect your industry or whether there is another organisation you can join forces with.
2. Is it in the best interest of your members? This is a key question to ask yourself - Will it benefit your members if you do lobby, or hurt them if you don’t?
3. Is it or should it be a priority? Some issues don’t seem to be a big deal, so once the situation has been assessed, you then need to identify and understand the potential short-term and long-term impact.

Once you have made the decision that you want to lobby, then there are an endless amount of tools at your disposal such as petitions & surveys, government consultations, self-regulation, PR & Media and even digital! The list really does go on...

There are however, many challenges organisations face when lobbying and although there are too many to list here in this blog there are three core issues which crop up time and time again:

• OPPOSITION: If the issue is weighty enough and affects industries and organisations other than your own, then you will most certainly come up against opposition and you will likely contradict what they are saying. The key tactics here are to be sure of your argument and to understand your opposition’s point of view.
• BUDGET: It is difficult to define a fixed budget for lobbying, there are too many factors involved! The best approach is to set out an end-goal, alongside smaller milestones which you can target as a business. This means you can focus on the initial milestone, attributing budget to achieving the first aspect.
• SWIMMING AGAINST THE TIDE: To you, your argument may seem the only one that is relevant, but in many cases you will be the only organisation to hold that view. Many membership organisations shy away from swimming against the tide of opinion, but you shouldn’t be afraid to do so.

There are many external factors which can impact your business and sometimes you do have to sit back and watch them happen. So if you have the chance to change what’s happening and the outcome to benefit your industry, why not get in touch with us about lobbying?

We have experience in successfully contributing to public policy and public consultations and if the future of your business or your members’ businesses are being challenged we’d love to support you.  If you’d like to chat to find out more, give us a call on 01242 250642.  We’d be only too happy to discuss.

www.membershipmarketinghelp.co.uk

Creative direct mail campaigns boost brand engagement with young people

New research from Royal Mail suggests that younger people enjoy receiving quirky and creative direct mail campaigns from brands. Especially in a world where a lot of communication is digital, younger people feel excited to receive a piece of mail that isn’t a bank statement or bill!

The research, titled The Life Stages of Mail, was conducted by Royal Mail’s MarketReach team and found that people aged 16-24, who have finished education and live at home were more likely to open envelopes than the 55+ age group.

Almost half of young consumers, who are referred to as ‘fledgings’, agreed that the quality of a piece of direct mail told them something about an organisation and 38% of ‘fledgings’ are more likely to look at a direct mail piece if it is printed on a high quality material. The research also showed that 32% of this age group trust direct mail campaigns more than information on the internet; as well as 18% finding it more memorable.

Of course, ‘fledgings’ are still more likely to respond through digital channels such as text messaging and social media, however this enables brands to also include elements such as a QR code or website link into a direct mail campaign.

So with that being said, here are some top tips on how to make sure your next direct mail campaign sticks out to ‘fledgings’:

• Personalisation: Personalise your direct mail to ensure that it reaches the correct person and not their parents... (obvs!)
• Tone of voice: Be sure that the tone and style of the copy is suited to the age group you are communicating your services to.
• Call to action: Make sure that your direct mail piece has a clear and accessible call to action and guide them through the next steps.
• Encourage sharing: Encourage your targets to share the direct mail piece with friends.
• Make it easy to respond: Create a hashtag for consumers to interact with you or give clear instructions on how they can contact you using different devices.

There you have it, some top tips on how to ensure that your next direct mail campaign appeals to young consumers. If you are looking at your next direct mail campaign, we can help you with ideas, design and even print. Give us a call on 01242 250692 to get started!

Are you a purple cow? Do you really need to be?

We received a sales email last week suggesting that we need to be a ‘purple cow’ and ensure that our email marketing ‘stands out from the crowd’. The email suggested that it’s about always making sure your content is ‘special’ so that you don’t just ‘fade into the background’; a sentiment we don’t wholly agree with.

It transpires that this company drew inspiration for their email from the book ‘Purple Cow’ by American marketing Guru, Seth Godin; the book encourages businesses to ‘be remarkable’, and whilst we do appreciate the sentiment we’re not sure that the related emailer tells the whole story…!

Being remarkable is not easy; in fact, it can in its own right become a full-time job. Richard Branson didn’t become ‘remarkable’ overnight, nor did Sir Alan Sugar or Usain Bolt. Each may have been born with the makings of a ‘remarkable’ person (depending on your view of nature versus nurture), but actually to get there, it took them a lot of hard work and determination. If we instead look at the brands that many would call ‘remarkable’ or some other, similar descriptive idiom, Red Bull has a huge budget to invest in stratospheric stunts, and Apple had a dedicated and hard-working spokesperson Steve Jobs for a while. So if you don’t have the big budget, and you aren’t a PR machine, how do you go about being ‘remarkable’?

Remarkable comes in many shapes and sizes; the dictionary gives two distinct definitions “extraordinary” and “worthy of notice or attention”, which are arguably at two very different ends of the spectrum. For example, a marathon runner raising money for charity is ‘worthy of notice and attention’, particularly in their own circle, but potentially only Paula Radcliffe and other marathon marvels could really be described as ‘extraordinary’. Asking around the office, ‘what do you glean from the word ‘remarkable’’ and the answers included ‘being very good at something’ and ‘doing something that someone else can’t do’; again, both perfectly appropriate answers, but ones which illustrate just how broad a term ‘remarkable’ is. So how do you set about being ‘remarkable’ and do you even need to be? Do you focus on being very very good at something, or is your ultimate goal to be untouchable?

‘Remarkable’ depends on your business, your market and your competitors too. If you hold a patent for an innovative and unique product that fills a need, that may make you remarkable; if you’re very good at what you do, but you work in a saturated market and you have a lot of competitors, there’s still opportunity to be ‘remarkable’. The question to ask is do you really need to be? What will it help you achieve? Well that depends on you, your ethos and what you want.

Where to start on your ‘remarkable’ journey…

-         First, stop TRYING to be remarkable; if we had a pound for every client who wants to be ‘different’ etc. etc. you know the saying! Actually, it’s not about being completely different to everyone else, it’s about being you. Start by being the best that YOU can be, and work out how to tell people in a way that engages with them, and you’ll be well on your way!

 

-         Be consistent; aiming to ‘be remarkable’ can be tiring, particularly if you haven’t listened to point one above! Instead, stop trying to be ‘the most innovative’ or ‘wacky’ or ‘unusual’ and instead, be consistent and reliable. There’s nothing worse than a company that does a one-off, bonkers promotion that grabs your attention, only for you never to hear from them again! We’d much rather have individuals / businesses that are consistent, are experts and who provide information we actually want to know about and look forward to receiving. Nothing ‘remarkable’ about that, but just as effective!

 

-         Be creative; this doesn’t mean blow a huge budget on an idea that only lasts as long as the funding does; if you’re going to be creative that way, then make sure it lasts, just like comparethemeerkat.com did. Instead, look at how you can be creative in your everyday; it makes it more relevant, more engaging and easier to sustain, just like when O2 went gansta on twitter.

 

-         Be human; now this is a tricky one, because you don’t want to be posting pictures of a drunken night out on your professional page, or to partake in the trend to post a birds-eye view of your dinner, but you do want to let people know you are a human, not an automated feed. Focus on how you can be useful, helpful, interesting or innovative; also see whether you can take something offline and make a real, not just virtual difference. It should be simple to do and may even be very small, but it’s these personal touches which help make you ‘remarkable’. Here are some examples from the beginning of last year, that show just how effective ‘being human’ can be…

Now, perhaps it is the word ‘remarkable’ that has created a little confusion; perhaps instead of using a word that has so many connotations and meanings to different people, we should instead relook at our aspirations. Maybe words like ‘consistent’, ‘reliable’, ‘expert’ and even ‘engaging’ are far better; after all, they stop trying to make brands ‘stand out’ and instead focus on developing and maintaining a desirable reputation and a loyal client base.

So no, we don’t fancy being a purple cow right now; we do like some of the sentiment but perhaps for small and medium businesses, we need to substitute the word ‘remarkable!

The importance of a good creative brief

When working with 'creative types' (and we use that term kindly as we have a few at apt!) - whether they are graphic designers, web designers, copywriters or photographers - it's important to communicate exactly what you are expecting from them at the very beginning of the creative process. "We're only as good as the brief you give us" is the reason your designer will give if what they produce isn't what you were expecting - and annoying as this may seem, it's true. So in this article we're going to outline a few principles to keep in mind when briefing any creative work - so that in future, the quality of the output is as good as you were hoping for.

1. What is your objective? It's always best to let the designer know exactly what you are hoping to achieve, even if you think they don't need to know everything about your business strategy in order to design a logo. Your elevator pitch (if you don't have one of those it's time to talk to apt!) should be enough to explain your business - but you are going through a creative process because you are looking for change so it's a good idea to explain your reasons for this. Do you want your business to look more modern? To stand out from the crowd? Or to look as if it has been around far longer than it actually has? All this can be achieved through use of colour, typography and language - but if your designer doesn't know, they are likely to guess, so give them as much information upfront as you can.

2. What do you hate? This might sound like an odd question, but if you have a huge aversion to orange, or a hatred of lightbulbs, it's best to tell the designer straight way so that they don't inadvertently create something for you which you will never like. A good designer will ask you upfront if there are any colours/words/images they should avoid, but be clear if they don't.

3. What do you love? A good way for a designer to create a project you will approve of is to know what you already love. It doesn't have to be within your sector, but if you admire the new branding of a company in Yorkshire or think the latest TV ad for a national retail store is fab, let your designer know. They will not copy - this is just a good baseline which tells them what you instinctively like, whether it's the tone of voice, the use of imagery or the use of a particular colour palette.

4. Be realistic. If you are looking for a new logo, remember the finished design is likely to be seen at very small sizes - so trying to cram every idea you've ever had into a one inch square is never going to succeed. Your designer has experience in distilling complicated ideas into a simple brand; let them come up with a few examples and try not to influence the process; that's what you're paying them for, after all. And remember there are different limitations when working in print and online; allow your creative team to make suggestions when translating work into different mediums and you will end up with a consistent approach which allows for technical restrictions.

5. Be prepared for a few amends. The best creative briefs are the ones that give enough background information for a designer to take the project and run with it. They are not prescriptive and they do not try and dictate exactly what the outcome should be. Given that someone else will be interpreting these ideas for you, it is understandable if they don't get it right straight away, and all designers take this into account and expect a certain amount of to-ing and fro-ing. Be honest with your feedback and you will be pleased with the finished result.

If you have any questions regarding creative briefs don't hesitate to get in touch - we can help you formulate the perfect brief for your requirements.

 

Travel the extra mile with your PR…

You’ll have heard us talk about the ‘so what’ factor before, which encourages you to question what is interesting about your story and why people might want to read it! You’ll also know we encourage you to ‘think outside the box’ when it comes to identifying an angle and look at what you could make a story out of!

Travelodge has done just that and every year, they publish a list of the mundane, quirky, unusual and sometimes downright odd items that grace their ‘lost-and-found’ boxes. This year £3,000 in £1 coins, a freshly-baked gingerbread village and even a husband made it onto the list, alongside more than 12,000 smartphones and tablets. Now this isn’t perhaps an ‘obvious’ story, one you would think of immediately when you think of corporate PR, yet it’s one of the more popular ones with consumer and trade publications alike! Our seemingly un-stoppable demand for an insight into the lives of others leaves us questioning just who would take a pink, electronic children’s Porsche into a hotel in the first place, and then even more bizarrely, leave it behind! The same premise applies to the ‘feng shui’ fishtank complete with nine fish and an inflated six-foot bouncy castle! Bonkers!

Anyway, we digress; here’s what you can learn from Travelodge with this #PRExample…

• Think outside the box; reiterating what we say time and time again, think outside the box. Lost and found has absolutely nothing to do with the service Travelodge provide, or the quality or calibre of their holiday portfolio, but it does provide interesting PR content that they can leverage. Significant amounts of coverage mean this simple story is worth its weight in gold (or maybe pound coins in this case), and it’s a simple case of identifying an appropriate angle. Go through your daily processes and see if there is something interesting, innovative or unusual that you can make the most of!

 

• It doesn’t have to be new; just because you did it last year, doesn’t mean you can’t do it again; in fact in some cases you can make it a tradition and a memorable ‘date for the diary’ as you release a sought-after story. Obviously, there is also the possibility of ‘too much of a good thing’ if you overdo it, but quarterly, bi-annually or annual releases can be great. In this case Travelodge release an annual list of lost-and-found, which gains coverage every year. Whatever your idea, it will have to be a regular occurrence and interesting enough to keep gaining the coverage.

 

Although many of these stories will ‘stand-alone’, a great way to take advantage of regular or annual releases is to link them to a topical event or national ‘day’. Sit down with a calendar and look at what you can do with key dates like Valentine’s for example; it doesn’t matter if you did something last year, as long as the content is suitably different and remains interesting, you’re bound to get coverage again. 

How to give a killer radio interview…

Whether you are appearing on local or national radio it can be really daunting, particularly if it’s a brand new experience! Stressing about stuttering, stumbling or forgetting what you meant to say, it can be a huge challenge! Yet it doesn’t have to be! Following these tips can help simplify the process and ensure it achieves what you need it to; you might even enjoy it!

• Think about what Radio Station you’re appearing on! If it’s Radio 1, you’ll need to focus your content on the National impact – don’t talk about your county, talk about the Country. BBC Radio Gloucestershire on the other hand, the focus should be localised – why will it affect the people of Gloucestershire or why might they enjoy it?
• Why did they ask you on it? Whilst Aunt Mable’s bunions, or your dog’s vet bill might be your highest priority, it’s unlikely they asked you on the radio to talk about it. Think about what triggered their interest. You’ll have been asked on as an ‘expert’ because you know about this subject; if you don’t, then you’re probably not the right person!
• Don’t be afraid to ask. Unless you’re involved in a breaking news story, the radio will be preparing the interview in advance; they’ll know how long the slot is, what they are hoping to achieve and possibly even the rough questions they want to ask. It’s worth asking for a brief and they’ll give you as much or as little as they can; sometimes, they won’t have the questions prepped or will have a policy not to share them, but it’s always worth a cheeky check just in case. Extra tip: If they do give you the questions, DON’T write and rehearse answers line for line; first, you’ll sound boring and uninspiring and second, radio presenters like to ad lib, asking you questions that directly result from your previous answer – no good if you’ve learned by rote! 
• What is your point? You know what everyone else is trying to achieve, but what about you…? Are you trying to get people to an event, raise money for a cause, convey an expert opinion on a topic and therefore influence opinion etc.
• Be prepared. Before the interview, write down or memorise four or five key points that you want to include. If you are running an event, it might be the date of the event, the dates the tickets go on sale, the key activities / acts / facts and the website. If you are fundraising, it might be the charity name, the fundraising method, how people can donate and what your target is. As above, don’t write long answers and memorise them – you won’t be invited back again, but make sure you have your facts handy so you can give organic, but structured answers to the questions. Extra tip: they won’t be expecting you to have the word proficiency of Shakespeare, but they will be expecting you to have decent and well-thought out answers. Keep your vocabulary straightforward so you are easy to understand and avoid one word answers which kill an interview dead!
• Don’t forget to self-promote. Radio stations will expect a little plug, but it does need to be little. You shouldn’t end every answer with your web address – they’ll get you off the show quickly – but you should remember to reference yourself a couple of times, and plug the website once so people can find out more. Don’t waste the opportunity, but remember it isn’t a billboard either!
• Take a deep breath or six.There’s nothing worse than a squeaky voice or non-stop rambling bought on by nerves. Just take a deep breath, stay focussed and concentrate.

Radio interviews can be fantastic promotion for your brand, product or event, so don’t waste them; but remember, once it’s out, you can’t take it back, so avoid any personal opinions, political stances or controversial statements, unless it’s the focus of your interview or you can handle the fall out!

Two Social Media mistakes we've seen already this morning...

If you search the internet, look at popular social media feeds, or even just speak to your colleagues, everyone has an opinion on using social media; what's right and what's wrong. Yet, there are a few mistakes which sometimes don't get the consideration they need and which a lot of people seem to be making.

 

'Lying' on your LinkedIn...

Many people have been there; adding a 'spin', bending the truth or exaggerating their skills slightly on their CV to make sure they get a chance to 'WOW' in that important interview. Yet, the rise of LinkedIn and its permanency and public-ness seem to have created a breed of people willing to take this online.

LinkedIn is by its nature a PERSONAL professional profile, i.e. you manage it for yourself, and one which is used to showcase your credentials and make your skills searchable; it is ALWAYS available and can be searched by users whether or not you are actively looking for a job. It requires personal integrity to keep it honest and beneficial, both for yourself and potential connections; yet increasingly, we are seeing people add skills which quite frankly shouldn't be anywhere near their profiles!

The internet revolution has enabled more start-up businesses, SMEs, self-employment opportunities and even just part-time consultations, and LinkedIn Profiles should reflect these appropriate skills. If you are a builder, focus on bricklaying, house extensions or other appropriate skills, even people management if it applies, but surely, think carefully before you add 'book-keeping'?! A very generic example of course, but the everyday necessities of running a business do not automatically make you an expert in the field - do you really want to be found for your 'book-keeping' skills and if not, then why are you adding it? Are you really going to be able to hold your head high if you're asked to manage someone else's books?

The answer is probably no, and anyone using LinkedIn properly probably won't get in contact with you anyway, but it is important to remember, there is a big difference between having enough knowledge to get by, and being skilled or an expert in a specific field. Is there really any point, effectively misleading yourself or others? After all, it is public!

 

Spelling it out...

A common, and somewhat underrated problem is spelling! Whilst we appreciate spelling may not be everyone's forte, there isn't really an excuse for getting it wrong! If it isn't your strong suit, copy and paste your tweet into something like Microsoft Word first and then see what it shows up. For example:

'Bare with me' - no thanks, I'm not in the mood to get naked with you!

Sounds stupid, but we've seen this particular stunner across Social Media platforms at least 10 times this year! 

 

There isn't an exact science for any Social Media and the best accounts are organic and interesting, but sticking to key golden rules can help make it effective and these are just two we spot regularly.

Any others which get your goat? Comment below...

 

TigerTurf comes to the rescue of an apt lawn!

Here at apt we like to get to know our clients, and our clients' products, really well so that we know what we are talking about; and recently we had a chance to go one step further when one of our new clients, TigerTurf, offered to help our creative director get rid of a muddy patch in the garden.

Our Creative Director Debi getting down and dirty!

Debi says: "A patch of lawn under the trampoline was geting muddier and muddier so we decided to pull it up and try artificial turf. We spent a day preparing the ground as per TigerTurf's instructions, compacting it with a whacker plate and then covering it with weed membrane and sharp sand before compacting it once again. It was easy (and fun!)

Every member of the family helped... sort of!

Here's Debi's family (mostly) hard at work!

We then laid the turf and cut it to size, before securing it with galvanised nails; after only a day we turned what was a wastelend into a pretty, useable area which will stay attractive even though it's permanently in shade.

Hey presto - all ready for the summer. Thank you TigerTurf!

A Blast from the Past

Whilst many of us at apt were made in the 80’s, after seeing Microsoft’s new Internet Explorer (IE) campaign, we are definitely children of the 90’s! In a clever marketing drive to encourage users to switch back to IE; Microsoft uses delight and nostalgia to remind us of a lost time when you had to dial-in to use the internet and people wore bum bags.

The new creative advert, titled ‘Child of the 90s’, encourages viewers to take a trip down memory lane; in the land of Hungry Hippos, Slap Bracelets, Pogs (slight cringe!) and of course, IE.

Their concept of ‘You grew up. So did we’ is an interesting parallel and the nostalgic essence definitely brought a tear (of longing) to our eyes. But with so many other internet browsers out there, will people give IE another chance? Only time will tell...

What was your favourite product of the 90’s?

Creative Essentials: Colour

Following on from our popular blog on the basics of typography, we've compiled a how-to guide on the use of colour...

Colour is everywhere… it can set a mood, attract attention, make a statement, energize, or cool down. Even when we don’t realise it, colour plays a direct role in creating an ambiance and influencing a message… which is why it’s vital to get it right when aiming at a certain target market or demographic.

Try this exercise:
“red means….”
“green means…”
Children learn from an early age that red means stop and green means go – so it’s unsurprising that these sentiments are applied to these colours throughout adulthood. As an adult you may see red as aggressive, passionate, or depicting emergency – all emotions that demand a response, and a reaction. Green on the other hand is associated with nature, harmony, and simplicity – ‘going with the flow’.

A knowledge of how our perceptions of colour influence our lives can be a powerful design element if used effectively. A great article on the emotive power of colour can be found here

Essentially, the article states that researchers have shown that up to 60% of a consumer's first impression of a product comes from its colour, and that colour is so important to a product's brand identity that the Supreme Court in the US ruled in 1995 that a particular shade, such as Coca-Cola red, could serve as a legally defensible trademark.

The article goes on to state that, based on Western culture (as colours have different meanings around the world) there are some simple emotive associations of colours most commonly used in branding and marketing:

Red
Red is symbolic of highly charged personal feelings with aggression, danger and battle on one end and bravery, passion and love on the other. Red alerts us to pay attention. It is provocative, dynamic, stimulating and exciting.

Pink
Pale pink represents the sweetness of youth. Pink foods are perceived as sweet-tasting and sweet-smelling. Vibrant pinks are high spirited and express energy.

Orange
The old perception of orange is that it represented cheap and low budget. Today, however, orange has come into its own and is perceived as inviting, friendly, and intense. Brighter shades feel fresh and young; pale shades of peach and melon are sophisticated and attractive to an older age range.

Yellow
Yellow symbolizes energy, warmth and light. Yellow can also be perceived as cheerful, mellow, and soft to the touch. Certain shades of yellow are associated with uncertainty and restlessness. Yellow cautions us to be careful. It is the colour of ideas and dreams and stimulates creativity and confidence.

Brown
Brown connects us with the earth and provides a feeling of substance and stability. Some people perceive brown as dirty and undesirable. Foods such as designer coffees, rich breads and rolls, and grains and rice have increased the positive connection to brown.

Green
Green signifies life. It is sensuous and alive. Green is friendly, dependable, and steady. It represents nature and is soothing, refreshing, and healing. Deeper greens signify money, prestige, and power.

Blue
Blue is peaceful and tranquil. We respect deep blue as a sign of law, order, and logic. It is dependable, quiet, serene, restful, and cool. Blues such as periwinkle, electric blue, and brilliant blue become dynamic, dramatic and energizing.

Purple
Purple is sensual, spiritual, elegant, and mysterious. It can reflect emotions from contemplative to regal and majestic. It is a combination of the excitement and passion of red and the peaceful tranquility of blue.

Neutral
Neutral colours include beige, grey, and taupe. They portray a sense of durability, quality and a classic sense of nature and quiet. Neutral colours are popular in home living environments due to their restful nature and can complement and offset brighter colours.

White
White represents purity and simplicity. It portrays the message of clarity and cleanliness. All white rooms, however, can be unsettling and uncomfortable.

Black
Strong, classic and elegant describe our feelings about black. While black is still associated with death and mourning, today, it is also associated with sophistication and strength.

The Colour Wheel

The colour wheel was first devised in 1666 by Sir Isaac Newton, and has been used to help understand the theory and harmony of colour by artists, designers and marketers ever since! It is a useful tool for combining colours, the theory being that any colours picked from it will look good together. The most common version uses 12 colours based on the red-yellow-blue colour model. Understanding the position of each colour on the wheel helps make them easy to co-ordinate.

Colour Harmonies

Traditionally, there are various colour combinations that are accepted as looking especially pleasing when used together. These are called colour harmonies, and have a fixed relation next to each other in the colour wheel, for example blue and green.

Complementary colours

Colours that play against each other can be used very effectively in design. These are called complementary colours and are found at opposite ends of the colour wheel, such as orange and blue or red and green. Whilst these can be very dynamic combinations, they can sometimes be a little overbearing at full strength, as the contrast between them creates a very vibrant look. Complementary colours work well when used with care, as they can really make something stand out.

Contrasting colours

Finally, colours that are three sections apart in the colour wheel are called contrasting colours, such as orange and purple, or blue and yellow. A simple way to pair these together is to make sure one of them is a lighter tint than the other: for example dark purple and bright orange will clash less than a bright violet paired with a bright orange, which could be distracting.

Colour Depth

Colours can recede or jump forward, which is important to know when sitting coloured text on a coloured background as it can help or impede legibility. Dark colours such as black, navy and brown tend to recede, while yellow, orange and red will step forward; this is why if you have a bright orange background it will be difficult to read any text or imagery placed on it, as the orange will fight for dominance.

Primary, secondary and tertiary colours

As mentioned before, colour wheels employ the red-yellow-blue colour model; this means that the primary colours are red yellow and blue. These colours can't be created by mixing other hues together; they are pure and consequently tend to be bright and impactful.
Secondary colours are created when two primary colours are mixed, creating green, orange and purple.
By mixing primary and secondary colours together, we can create tertiary colours – the remaining colours on the wheel.

In essence, primary colours are vibrant, saturated and eye-catching, whilst tertiary colours are more subtle and less demanding on the eye.

Warm and cool colours

The colour wheel can be divided into warm colours – the reds, oranges and yellows – and cool colours which consist of greens, blues and purples. Warm colours are perceived as being vivid and energetic, and tend to advance and ‘pop out’ whilst cool colours are more recessive and give an impression of calm.
White, grey and black are considered to be neutral colours and as such work well with any other colours on the spectrum as they don’t create clashes.

Tints, shades and tones

If a colour is made lighter by adding white, the result is called a tint; if it is made darker by adding black the result is a shade. If grey or a mix of colours is used, the result is a different tone. Whilst these terms can seem unnecessarily complicated, it can be useful to understand their meanings when using image manipulation software such as Adobe Photoshop which uses these terms in colour correction tools.

Using colour effectively

More often than not, correct use of colour is about using gut instinct. A restaurant aimed at the children's/family market will probably want to use bright colours in their branding, thereby associating themselves with their audience and creating an environment which appeals to children. Similarly, top-end restaurants will tend to use a much more subdued palette, the bright reds replaced with darker and richer burgundies, and vibrant yellows becoming neutrals.

As important as understanding the target audience is trying to not let personal preference determine a colour scheme to represent a brand, regardless of what is the client’s (or the designers) favourite colour. A business that markets itself on being environmentally friendly, such as renewable energy or a recycling comapny, may want to use ‘earthy' tones, which are colours synonymous with the outdoors. Conversely a firm which makes brightly coloured plastics may choose a palette that relates directly to their product.

To conclude… there is more to colour than you might think. Choosing the wrong colour for your brand could prevent you from standing out, in a croded environment. A good place to start is to look at competitors or other businesses within the same industry; is there a common theme in the colours and tones of these brands? Do you want to look like them to create a synergy for your brand, or contrast to help you stand out? Creative designers are trained in the use and importance of colour and should be able to guide and advise when deciding on the use of colour for the first time.

Next time you see something you just ‘like’ and you're not sure why, have a think… what colour is it?

References:
Emotional Reactions to Color by Kathy Lamancusa creativelatitude.com (emotive associations of colour)
Further reading:
Basic Colour Theory colourmatters.com
Introduction to Colour Theory tigercolor.com