Simbología y Psicología del Color

Simbología y Psicología del Color

colores

 Cada color ejerce sobre la persona que lo observa una triple acción:

Impresiona al que lo percibe, por cuanto que el color se ve, y llama la atención.

Tiene capacidad de expresión, porque cada color, al manifestarse, expresa un significado y provoca una reacción y una emoción.

Construye, todo color posee un significado propio, y adquiere el valor de un símbolo, capaz por tanto de comunicar una idea. Los colores frecuentemente están asociados con estados de ánimo o emociones.

Los colores nos afectan psicológicamente y nos producen ciertas sensaciones. Debemos dejar constancia que estas emociones, sensaciones asociadas corresponden a la cultura occidental, ya que en otras culturas, los mismos colores, pueden expresar sentimientos totalmente opuestos por ejemplo, en Japón y en la mayor parte de los países islámicos, el color blanco simboliza la muerte.

El Rojo: Es el símbolo de la pasión ardiente y desbordada, de la sexualidad y el erotismo, aunque también del peligro. Es el más caliente de los colores cálidos. Es el color del fuego y de la sangre, de la vitalidad y la acción, ejerce una influencia poderosa sobre el humor y los impulsos de los seres humanos, produce calor. El aspecto negativo del rojoes que puede destapar actitudes agresivas.

El Anaranjado: Representa la alegría, la juventud, el calor, el verano. Comparte con el rojo algunos aspectos siendo un color ardiente y brillante. Aumenta el optimismo, la seguridad, la confianza, el equilibrio, disminuye la fatiga y estimula el sistema respiratorio. Es ideal para utilizar en lugares dónde la familia se reúne para conversar y disfrutar de la compañía.

El amarillo: En muchas culturas, es el símbolo de la deidad y es el color más luminoso, más cálido, ardiente y expansivo, es el color de la luz del sol. Genera calor, provoca el buen humor y la alegría. Estimula la vista y actúa sobre el sistema nervioso. Está vinculado con la actividad mental y la inspiración creativa ya que despierta el intelecto y actúa como antifatiga. Los tonos amarillos calientes pueden calmar ciertos estados de excitación nerviosa, por eso se emplea este color en el tratamiento de la psiconeurosis.

El verde: Simboliza la esperanza, la fecundidad, los bienes que han de venir, el deseo de vida eterna. Es un color sedante, hipnótico, anodino. Se le atribuyen virtudes como la de ser calmante y relajante, resultando eficaz en los casos de excitabilidad nerviosa, insomnio y fatiga, disminuyendo la presión sanguínea, baja el ritmo cardíaco, alivia neuralgias y jaquecas. Se utiliza para neutralizar los colores cálidos.

El Azul: es el símbolo de la profundidad se le atrubuyen efectos calmantes y se usa en ambientes que inviten al reposo. El azul es el más sobrio de los colores fríos, transmite seriedad, confianza y tranquilidad. Se el atribuye el poder para desintegrar las energías negativas. Favorece la paciencia la amabilidad y serenidad, aunque la sobreexposición al mismo produce fatiga o depresión. También se aconseja para equilibrar el uso de los colores cálidos.

El púrpura: Representa el misterio, se asocia con la intuición y la espiritualidad, influenciando emociones y humores. También es un color algo melancólico. Actúa sobre el corazón, disminuye la angustia, las fobias y el miedo. Agiliza el poder creativo. Por su elevado precio se convirtió en el color de la realeza.

El blanco: Su significado es asociado con la pureza, fe, con la paz. Alegría y pulcritud. En las culturas orientales simboliza la otra vida, representa el amor divino, estimula la humildad y la imaginación creativa.

El Negro: Tradicionalmente el negro se relaciona con la oscuridad, el dolor, la desesperación, la formalidad y solemnidad, la tristeza, la melancolía, la infelicidad y desventura, el enfado y la irritabilidad y puede representar lo que está escondido y velado. Es un color que también denota poder, misterio y el estilo. En nuestra cultura es también el color de la muerte y del luto, y se reserva para las misas de difuntos y el Viernes Santo.

El gris: Iguala todas las cosas y no influye en los otros colores. Puede expresar elegancia, respeto, desconsuelo, aburrimiento, vejez. Es un color neutro y en cierta forma sombrío. Ayuda a enfatizar los valores espirituales e intelectuales.

 

 PSICOLOGÍA DEL COLOR

 EL COLOR

En el siglo XVII, Newton fue el primero que, por medio de un prisma de cristal, descompuso la luz. Esta, al incidir sobre una pantalla, apareció en forma de una banda de varios colores. El distinto camino que siguen los rayos se debe a su longitud de onda; cada longitud de onda corresponde a un color, sabiendo entonces que las radiaciones luminosas constituyen solamente una pequeña parte del espectro de las radiaciones

La apreciación de los colores se basa en una coordinación complicada de procesos físicos, fisiológicos y psicológicos.

El color tiene una inmensa afinidad con las emociones, los Egipcios usaban el color con fines curativos. Los Griegos de la Antigüedad hicieron del color una ciencia. El color es una ciencia pero también una filosofía profunda, ambos aspectos deben de ir de la mano. Isaac Newton fue otro pionero del color y trabajó mucho tiempo antes de descubrir que mirando a través de un prisma, podían verse siete colores.

Interpretación de los colores

Las persona que tienen oído musical pueden distinguir fácilmente los tonos musicales, de diferentes frecuencias, Pero el sentido de la vista no puede percibir los diferentes componentes de la sensación cromática. Cada sensación cromática es uniforma e indivisible, Sólo puede ser descrita por medio de las propiedades apreciadas de forma directa.

Las propiedades más importantes que cada color tiene son: Tono, Intensidad, Luminosidad y Claridad.

En la clasificación natural de los colores se sistematiza su descripción: cada color ocupa en el llamado cuerpo cromático, un lugar determinado que depende de la igualdad o desigualdad del color respecto a otros seis de referencia, estos colores son AMARILLO, ROJO, VERDE, Y AZUL más el BLANCO Y EL NEGRO. Los colores fundamentales se ordenan en una cruz en ángulo recto de manera que cada brazo de la cruz tiene en sus extremos un color.

Simbología del Color

Desde épocas remotas se ha asociado los colores a ciertos estados de pánico, con motivos religiosos y mágicos. Pero la simbología de los colores difiere en las distintas civilizaciones.

Por lo general el amarillo y el rojo son considerados colores cálidos y el verde y azul como colores fríos.

El color nos ofrece un enorme vocabulario de gran utilidad en el alfabeto visual

Ciertos colores tienen un valor simbólico. El blanco simboliza la pureza; el rojo, el amor y la sangre, aunque también advierte un peligro inminente; el púrpura-antiguamente el color de los reyes- se emplea hoy para indicar radiactividad. El verde es el color del mal, pero también el de la esperanza. El negro es a la vez un color de gala y de luto. El rojo se asocia a la furia, peligro, amor la sangre y hasta se ha extrapolado a la capa roja con la que se agita al toro, el color rojo apenas si tiene significado para el toro que carece de sensibilidad hacia el color y solo se mueve por el hecho de que se agita ante él un trozo de tela.

Pero veremos algunos significados que la cultura le da a algunos colores, a saber y cuales colores principales llegan al color del descrito. 

COLOR SIGNIFICADO MEZCLA
SALMÓN PÁLIDO: AMOR INCONDICIONAL (ROJO C/ NARANJA)
AMARILLO DORADO: SABIDURÍA (NARANJA C/ AMARILLO)
VERDE PÁLIDO: HERMANDAD Y UNIDAD (AMARILLO C/ VERDE)
TURQUEZA: CLARIDAD DE PENSAMIENTO (VERDE C/ AZUL)
LAVANDA: ALTOS IDEALES, DEVOCIÓN A DIOS (AZUL C/ VIOLETA)

Los siete colores dan muchas combinaciones: mezclándolos con el negro conseguimos matices, mezclándolos con el blanco, obtenemos tonalidades.

Colores pálidos: la especie humana se siente libre y despreocupada

Colores sombríos: prudencia y sobriedad

Vivimos en un mundo de dualidad: positivo y negativo, oscuridad y luz, etc. Con los colores pasa lo mismo: tienen un aspecto caliente y uno frío, cualidades positivas y negativas. Las cualidades positivas son las tonalidades, las negativas los matices.

El aspecto sensorial del color es visual y tiene que ver con la filosofía y la psicología.

El rojo, el naranja y el amarillo son colores magnéticos, cálidos = activan y animan.

El índigo y el violeta son fríos, eléctricos = calman y sosiegan

El rojo = conocido como el espíritu de la vida y su escasez = apagados, letárgicos y lentos.

Violeta = paz, plenitud, conocimiento, sabiduría y la comprensión, purificador, nos ayuda a alcanzar aquello que es noble, magnífico, puro y divino.

Virtudes:

Rojo: valor, perseverancia. Bondad, amor

Naranja: pureza, santidad

Amarillo: sabiduría, discernimiento, buen criterio.

Verde: compasión, comprensión, benevolencia. Generosidad, humildad.

Azul: fe, confianza

Índigo: lealtad, integridad

Violeta: sacrificio, desprendimiento

LA PSICOLOGÍA DEL COLOR 

NEGRO: negro c/ rojo: da a uno poder físico

Negro c/ rosa: da poder social

negro c/ amarillo: da poder intelectual

Se le relaciona con el misterio y lo desconocido.

Se asocia con depresión, mal humor, desesperación, muerte

Puede estar esperando revelarse una hermosa naturaleza llena de amor y belleza.

La mujer que le gusta vestir de negro es amiga del poder y desea permanecer en el misterio.

Los colores nos ayudan a mostrar el verdadero yo porque igual que sucede en la naturaleza, revelamos quienes somos verdaderamente por los colores que llevamos.

MARRÓN: Lo asociamos con las cosas sólidas, seguras y permanentes. Nos ayuda a ser prácticos y no tan derrochadores, nos mantiene aferrados a los viejos modelos, pero debemos estar abiertos a nuevas ideas.

GRIS: Es el color de la renunciación, pero también se le asocia con el miedo e impide a muchas personas manifestar su verdadero yo. En un día gris nos sentimos abatidos.

AMARILLO: Favorece la claridad mental y los procesos lógicos. Mejora la facultad del razonamiento y abrirá nuestra conciencia a nuevas ideas, nuevos intereses, convierte la vida en algo emocionante y divertido.

AMARILLO PÁLIDO: Mente clara, asimila bien los hechos

AMARILLO BRILLANTE: Revela todo un intelecto

NARANJA: Utilidad, movimiento, actividad, alegría, bienestar, compañerismo, los placeres compartidos, creatividad, nos libera de pasados condicionamientos. Es un buen color para la debilidad mental y puede sacarnos de la depresión, liberar frustraciones y miedos.

ROJO: Nos da valor, da fuerza en todas sus formas, cuando este preocupado piense en rojo y le ayudará a superar sus pensamientos negativos. Activa nuestras emociones y deseos sexuales. Es el color de la vida, energizante, es el rayo de la voluntad, la determinación de salir adelante y hacerlo bien.

El amor mueve el mundo, no el del ansia sexual de poseer a otra persona, sino del amor que nutre, alimenta el amor incondicional, el amar a los demás sin pensar en uno mismo.

VIOLETA: Eleva todo aquello que es espiritual y hermoso, purifica y limpia, es tan potente que puede impulsar a uno a sacrificarse por un gran ideal, proporciona mucho poder.

INDIGO: Se le conoce como espíritu del poder, gran purificador. Es un rayo muy científico, del conocimiento puro.

AZUL: Lealtad, confianza. Es el rayo del alma, de la paz y la serenidad, y aquellos a quienes les encanta el azul, aman la belleza en todos los aspectos y formas. Es refrescante, tranquilizador y puede sedar. El aspecto negativo de este rayo es la tristeza.

VERDE: Es el rayo del equilibrio, beneficia al sistema nervioso, nos ayuda a relajarnos y desprendernos de los problemas; es el rayo del dar y recibir

El color en la comunicación visual

El color está cargado de información y es una de las experiencias visuales más penetrantes que todos tenemos en común y por ello este constituye una valiosísima fuente de comunicadores visuales.

El color tanto el de la luz como el del pigmento se comporta de manera única, pero nuestro conocimiento del color en la comunicación visual va un poco más allá de nuestras observaciones, ante él.

El color tiene tres dimensiones. El matiz es el color en sí o croma y hay más de cien matices como colores hay.

Cada matiz tiene características propias, existiendo tres matices primarios o elementales: Amarillo, Rojo y Azul. Cada uno representa cualidades fundamentales. El amarillo se considera el más próximo a la luz y el calor, el rojo el más emocional y activo, el azul es pasivo y suave. El amarillo y rojo tiende a expandirse, el azul a contraerse. Cuando estos se asocian en mezclas se obtienen nuevos significados.

El rojo que es un color provocador se amortigua al mezclarse con el azul y se activa al mezclarse con amarillo.

La estructura cromática en su estructura más simple se compone de Colores primarios (amarillo, rojo, azul) Secundario (naranja, verde y violeta)

La segunda dimensión del color es la saturación que se refiere a la pureza de un color respecto al gris. El color saturado es simple casi primitivo, carece de complicaciones y es muy explicito, está compuesto de matices primarios y secundarios, cuanto más intenso y saturado es la coloración de un objeto visual más cargado de expresión o emoción está

La tercera dimensión es el brillo, que va de la luz a la oscuridad.

Una característica esencial del juego con los colores, mucho más importante que en otros, son lo que se puede hacer o no hacer con ellos. El nombrar colores, el comparar colores, el crear colores, la relación entre color y luz e iluminación, la relación del color con el ojo, de los sonidos con el oído, e innumerables otros. ¿Se mostrará aquí lo «específico» del color. Sólo tentativa (Isidoro Reguera). Son tantos los juegos de color que imposibilitan su clasificación o registro. Y, por tanto, el uso exhaustivo de la totalidad de esos juegos. Porque lo que importa es poder describir todo aquello que puede hacerse y que efectivamente se hace con los colores, ni siquiera es posible su registro lógico-gramatical, que es el único lenguaje que preocupa a la filosofía.

¿Cómo imaginar un mundo sin color, si sabemos que la materia es incolora y que el color es sólo su apariencia?.¿Cómo aislar esas formas elementales de intensidad, brillo y tono que asignamos al color?.

Apreciación de los colores

El color es uno de los principales elementos que facilitan la percepción de las formas de los objetos. A veces, incluso nuestra misma vida depende de la capacidad de diferenciar los colores; por ejemplo, al conducir un automóvil, ya que en este caso, no sólo se trata de advertir e interpretar las señales y los rótulos, sino también de ver a tiempo otros vehículos.

El uso del color en la publicidad

Norteamericanos, Franceses, Rusos, Japoneses y muchos otros han estudiado, de manera consciente, los efectos del color sobre el individuo, considerándolo aisladamente y sobre el individuo como el constitutivo de la masa.

Una de las conclusiones a la que se ha llegado es que la mirada humana percibe la forma antes que el color. Es decir, si se acerca al centro del campo visual humano, se observa en forma progresiva, es decir al observar un pedazo de papel de determinado color, el sujeto percibe primero la forma antes que el color que lo Compone.

Por lo tanto, si con la forma logramos el primer impacto, el color es fundamental para retener la atención y actuar sobre la capacidad reflexiva emocional del individuo.

Uno de los elementos más versátiles en un anuncio es el color dependiendo del producto y del atractivo publicitario, el color puede usarse por muchas razones:

Es un dispositivo que llama la atención. Con muy pocas excepciones, la gente notará que un anuncio a colores con más facilidad que otro en blanco y negro.

Ciertos productos sólo pueden presentar realmente si se usa el color: Los muebles para el hogar, los alimentos muchas ropas y accesorios de vestir y los cosméticos perderían gran parte de sus atractivos si se presentan en blanco y negro.

3- El color puede resaltar elementos específicos dentro del anuncio. Ocasionalmente un anunciante utilizará color sólo para el producto dentro de un anuncio en blanco y negro. Esto no solo hace hincapié en el producto como el elemento principal del anuncio, sino que también ahorra dinero, en comparación con los procesos de cuatro colores.

El color de la un estilo al anuncio con su propio lenguaje. Los ambientes fríos y pasivos se crean con azules y colores pastel, el rojo los excitantes y lo primaveral con amarillo.

De acuerdo con los estudios realizados el rojo en cuanto al valor de atención y el amarillo, en especial sobre negro, se consideran poseer un valor de atención máximo. El orden de visibilidad del rojo sobre otros colores es:

1. Sobre azul
2. Sobre amarillo
3. Sobre rosado o naranja
4, Sobre amarillo verdoso
5. Sobre gris.

Cabe destacar que tan importante es el contraste o visibilidad de los colores individuales como sobre la armonizaci6n ( o familias de colores: Cálidos y fríos.
Uno de los elementos más versátiles de un anuncio, por ejemplo:
Los comerciales de televisión deben ser intrigantes y profundos.
La televisión utiliza movimiento y acción para crear impacto. Utiliza historias para entretener y para llegar al punto deseado. En televisión las demostraciones son persuasivas porque creemos lo que vemos. La imagen y el sonido deben reforzarse entre sí. Mas que ningún otro medio de publicidad, la televisión tiene la capacidad de tocar las emociones, de impulsar a la gente a que experimente sentimientos. Esta habilidad de tocar los sentimientos de los televidentes, hace que los comerciales de televisión sean entretenidos, divertidos y absorbentes. Las situaciones de la vida real con todo su humor, coraje» miedo, orgullo, celos y amor toman vida en la pantalla.

Técnicas y Herramientas para usar Color en Diseño con una Computadora

El color tiene un impacto principal sobre la interacción humano-computadora: si no positivo, entonces negativo. De acuerdo a Murch, un investigador en factores humanos bien conocido, «El color puede ser una herramienta poderosa para mejorar la utilidad de un despliegue de información en una amplia variedad de áreas si el color es usado adecuadamente. Inversamente, el uso inapropiado del color puede seriamente reducir la funcionalidad de un sistema de despliegue”. El color es un componente principal en las GUIs. Debido a la proliferación de aplicaciones GUI en PCs, Macs, y Estaciones de trabajo Unix, el examen del color es pertinente a la interacción humano-computadora (human computer interaction, HCI).

El uso de color apropiado puede ayudar a la memoria del usuario y facilitar la formación de modelos mentales efectivos. Como Murch expresó arriba, el uso efectivo del color puede ser una herramienta poderosa. Sin embargo, el uso inefectivo del color puede degradar el desempeño de una aplicación y disminuir la satisfacción del usuario. Debido a estos factores, sentimos que el uso efectivo del color en interfaces de computadora es un importante tópico en HCI que requiere ser examinado cuando consideramos el diseño de una interfaz.

Fundamentos del Color

Para entender el potencial del color en las interfaces, necesitamos examinar algunas características fundamentales de la percepción del color. Las características fundamentales primarias que discutimos aquí incluyen varios modelos de color, el sistema visual humano, principios fisiológicos del color y efectos del color tales como las ilusiones y las combinaciones del color.
Hay varios modelos de color que son organizados en dos divisiones básicas . Estas divisiones son los modelos basados en la percepción y los modelos basados en el despliegue. Como pudiera pensarse de estos nombres, el primero es organizado similarmente a la manera como percibimos el color y el segundo esta basado en las características de un dispositivo de despliegue.
Los modelos basados en la percepción son conocidos como HSV (Matiz/Hue, Saturación/Saturation y Valor/Value) y el HLS (Hue, Light/luz y Saturation). El Matiz es la composición de la longitud de onda espectral de color que produce los colores que vemos tales como el anaranjado, azul, etc La Saturación (chroma) es la pureza relativa del color sobre una escala del gris al tono más vibrante del color particular. El Valor es la fuerza u oscuridad del color.

La Claridad también referida como brillantez, se refiere a la cantidad de energía luminosa que crea el color. El sistema HSV está basado en el sistema de color Munsell usado por artistas, diseñadores y fabricantes [8]. El HLS fue desarrollado por Tektronix en 1978 para proporcionar un modelo más porceptual que el modelo de Tektronix que se estaba usando en ese tiempo basado en despliegues.

Todos los colores presentados en una computadora deben ser trasladados dentro del espacio del color RGB Desafortunadamente, no hay un mapeo uno a uno de los modelos basados porceptualmente a los modelos basados en despliegue. Este hecho puede explicar algunas de las dificultades encontradas cuando tratamos de recrear justamente el color correcto para una interfaz de pantalla. No es siempre posible obtener la sombra exacta.

El ojo humano contiene una lente y una retina. La retina contiene receptores sensitivos a la luz conocidos como bastones y conos. El propósito primario de los bastones es proporcionar visión de noche, mientras que los conos trabajan en niveles más altos de intensidad de la luz. Los conos contienen foto pigmentos, también conocidos como fotoreceptores, los cuales son sensitivos al rojo, al verde o al azul. De acuerdo con Murch , aproximadamente 64% de los conos contienen foto pigmentos rojos, 32% contiene verdes y solamente alrededor de 2% contienen foto pigmentos azules. Las propiedades fisiológicas del sistema nervioso dictan la sensación del color. Los humanos son sensitivos a un rango de longitudes de onda. Las longitudes de onda no coloreadas, sin embargo el color es el resultado de la interacción de la luz y nuestro sistema nervioso. Las longitudes de onda que producen colores diferentes son enfocadas a distancias diferentes detrás de la lente.

La lente no transmite todas las longitudes de onda de la misma manera, exhibiendo menos sensibilidad a las longitudes de onda más cortas, lo cual tiene el efecto de absorber los azules. Inversamente, somos más sensitivos a las longitudes de onda más largas, lo cual es exhibido por una sensibilidad aumentada a los amarillos y anaranjados. Bastante raro, podemos ver los azules mejor en la periferia que en el frente debido a la distribución física de los fotoreceptores azules.

Consecuente con la organización física del ojo hay efectos interesantes o ilusiones causadas por ciertas organizaciones de color o combinaciones. Debido a la falta de fotoreceptores azules, las líneas azules delgadas (como el texto azul) tienden a verse borrosas, y pequeños objetos azules tienden a desaparecer cuando tratamos de enfocarlos. Los colores que difieren solamente por la cantidad de azul no producen bordes claros. Por ejemplo, los colores con la misma cantidad de verde y rojo que varían solamente en la cantidad del azul producen orillas borrosas. El contraste de colores adyacentes puede crear una ilusión observada fácilmente. Dos objetos del mismo color pueden aparecer marcadamente diferentes en color dependiendo del color del fondo (ver relatividad del color en. El uso inefectivo de los colores puede causar vibraciones y sombras; imágenes que distraen al usuario y pueden forzar la vista [3].

Modelos Mentales y el Uso Efectivo del Color

La gente interactúa con su mundo a través de modelos mentales que ellos han desarrollado. Específicamente, las ideas y las habilidades que traen a su trabajo están basadas en modelos mentales que ellos desarrollan acerca de ese trabajo. El uso adecuado del color comunica hechos e ideas más rápidamente y más estéticamente al usuario. El color también puede ayudar a desarrollar modelos mentales eficientes y factibles si se siguen las siguientes pautas: simplicidad, consistencia, claridad y lenguaje del color.

Simplicidad

La simplicidad es importante en el diseño de interfaces a color. Existe una simplicidad inherente en el color la cual debería ser usada cuando se desarrolla el diseño. Los cuatro colores fisiológicamente primarios son el rojo, el verde, el amarillo y el azul. Estos colores son fáciles de aprender y recordar. Vinculando significados prácticos e intuitivos a estos colores simples cuando se diseña una pantalla, el diseñador de la interfaz enriquece el desarrollo del usuario con un modelo mental efectivo.

Consistencia

La consistencia es vital al asignar significados a los colores. El orden intuitivo de los colores puede ayudar a establecer consistencia intuitiva en el diseño. El orden espectral y perceptual rojo, verde, amarillo, azul puede guiar el orden de los conceptos vinculados a los colores. El rojo es primero en el orden espectral y se enfoca en el frente, el verde y el amarillo se enfocan en medio, mientras que el azul se enfoca en el fondo.

El color puede ser usado para codificar o agrupar piezas de información. Esto ayuda a incrementar el número de piezas de información que un usuario puede retener en la memoria de corto plazo.

Existen aspectos fisiológicos que impiden la consistencia en el uso del color. Varios matices del mismo color deberán de ser eliminados por diferentes conceptos e ideas. Esto es especialmente cierto para los azules. Los diferentes matices de azul son muy difíciles de distinguir y muchos pueden no ser reconocidos por el usuario.

Claridad

La claridad es también una pauta importante para usar color. Experimentos han mostrado que el tiempo de búsqueda para encontrar una pieza de información es disminuido si el color de esta pieza es conocido por anticipado, y si el color sólo se aplica a esa pieza. Los colores de interfaz estandarizados deberán de ser establecidos e usados a través del desarrollo. El uso claro y conciso del color puede ayudar a los usuarios a encontrar piezas de información más rápidamente y más eficientemente. El aprendizaje puede ser grandiosamente aumentado con el color. El color ha probado ser superior al blanco y negro por la efectividad en el tiempo de proceso de información y por el rendimiento de memoria . La estética y lo atractivo de la interfaz son inherentemente aumentados por el uso del color.

El utilizar códigos de color en mensajes para el usuario podría reducir grandemente la mal interpretación y las respuestas incorrectas. El rojo es un buen color para alertar a un usuario hacia un error. El amarillo es apropiado para un mensaje de advertencia, y el verde para mostrar un progreso positivo. El usar verde para mensajes de error y el rojo para mensajes de estado positivo sólo conducirá al usuario a mal interpretaciones y a frustraciones.

Lenguaje de Color.

El lenguaje de color es importante en el uso del color. Los individuos desarrollan un lenguaje de color conforma maduran, basándose en el uso común y cultural. Debido a este hecho, el simbolismo existente y el uso cultural del color deberán de ser considerados al diseñar una interfaz. Por ejemplo, el servicio de correo de Estados Unidos utiliza el azul para los buzones del correo, Inglaterra utiliza un rojo brillante, y Grecia utiliza un amarillo brillante. Al desarrollar un sistema de correo electrónico para estos países, los colores mencionados anteriormente servirían efectivamente para los iconos del correo.

El código de colores para la documentación en línea para la interfaz reforzará conceptos que el diseñador quiere que el usuario desarrolle. El color puede tener un efecto significante (positivo o negativo) al comunicar ideas al usuario. Utilizando la coordinación correcta de color se pueden enriquecer los datos que están siendo presentados al añadirles otra dimensión o canal de información. Además, la coordinación de color enriquece la conceptualización a través de agrupar y traer elementos a la atención del usuario por asociación con modelos mentales existentes.

Si utilizas múltiples colores puros o colores altamente saturados, el ojo humano tendrá que reenfocar constantemente, causando fatiga al ojo. Si para el texto o líneas delgadas utilizas colores que son difíciles de enfocar, el sistema visual entero deberá trabajar más fuerte, otra vez causando fatiga y estrés. El combinar colores para producir efectos positivos requiere que sigas técnicas conceptuales que son formuladas en interfaces sin color así como algunas reglas para el reconocimiento del color. Las combinaciones de color buenas y malas.

Además de usar estas combinaciones de color, también existen algunas reglas y sugerencias que son fáciles de seguir. Murch da diez reglas simples.

Tabla 1. Combinaciones de colores para Interfaces con el Usuario con Despliegue Gráfico

para crear buenas interfaces (ver Reglas de Murch). Algunas otras sugerencias efectivas hechas por Marcus :

utiliza el color azul para el fondo

utiliza la secuencia de color espectral (rojo, anaranjado, amarillo, verde, azul, índigo y violeta)

mantén pequeño el número de colores

evita usar colores adyacentes que difieren solamente en la cantidad de azules puros

utiliza colores brillantes para indicar peligro o para llamar la atención del usuario

Uno de los elementos más importantes de usar el color efectivamente es conocer al usuario, el ambiente del usuario, y la tarea que el usuario está realizando. En la pantalla del editor se utilizan seis colores básicos además del color azul de fondo. Estos colores son asignados a palabras (o cadenas) en el texto para categorizar el contenido textual:

palabras reservadas – blanco

identificadores – amarillo

macros – verde

letras – azul

comentarios – gris

errores de sintaxis – rojo

Este plan de color cuidadosamente escogido ayuda al usuario a reconocer los errores fácilmente (por ejemplo, palabras reservadas mal escritas), y lo alienta a desarrollar un buen modelo mental para el uso de la interfaz.

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