Carl Jung Was Wrong! …And Why I’m Against Color Psychology in Design
- Agnieszka Balkus
- Jan 5
- 5 min read
After making this rather controversial statement, let me take a step back and introduce you to the concept of colour theory and colour psychology in design.
But first! Let’s talk about colour itself and let me get a little philosophical here. Colour, at its core, doesn’t even exist without light. It’s a trick of perception—a collaboration between light waves, our eyes, and our brains.
Here’s how it works (in the simplest terms, because who has time for quantum mechanics?): Light hits an object, and that object absorbs some wavelengths while reflecting others. The reflected wavelengths hit our eyes, where specialized cells called cones translate them into electrical signals. These signals go to the brain, which interprets them as colour.
This means colour isn’t really “on” the object you’re looking at; it’s a reaction happening in your mind. Mind-blowing, right?
But wait—it gets even more interesting. The way we see and interpret colour isn’t universal. It’s affected by biology, environment, and culture. For example:
Some people are colorblind, meaning they perceive colours differently than others.
In the animal kingdom, certain creatures (like bees) see colours we can’t even imagine.
Cultural meanings of colours vary wildly. White might symbolize weddings and purity in some places but mourning and death in others.
All this to say: Colour is slippery. It’s not as simple as saying, “This is blue.” It’s more like, “This is how I see blue—how about you?”
But enough about science. We’re supposed to talk about design, right?
We can’t deny the importance of colour in graphic design—or any other design, really. I graduated from one of the best art schools in Poland, but do you know where I truly learned about colour? IKEA.
Yes, that IKEA. I landed a job there as an Interior Designer, and my daily tasks (among many others, like assembling furniture, making small DIY projects from IKEA’s range, drinking not-the-best coffee from the bistro machine, and joking with coworkers about Swedish sofa names) involved designing commercial interior spaces.
The challenge? Staying in line with IKEA’s guidelines, seasonal campaigns, and sales goals—while also designing something functional and tailored to the local housing market. And, last but not least, it had to look GOOD. The goal was to catch the eye of often overstimulated customers and make them stop, look, and say: “Honey, THIS should be our bedroom!” So what was the key? Good colour balance.
But What Does That Really Mean?
“Research has found that typically, people decide whether they like a product or not in under 90 seconds, with 90% of that decision solely based on colour.”*
Enter Carl Jung. Some of you may know this smart guy. He once said, “Colours are the mother tongue of the subconscious.”** And from this single sentence, colour psychology was born—bringing with it a flood of studies and theories that are still widely used in branding and marketing today.
The marketing world went wild. Studies and research about colour’s impact on consumer behavior became the backbone of many branding strategies. Pseudoscience authors probably made a fortune selling books on colour as a magical hook for users. But here’s the thing: actual science isn’t so sure about these assumptions. ****
The effects of colour are small—but they can add up. Take red, for example. Colour psychology claims red window signs in stores attract more impulse purchases. Colours can supposedly increase or decrease our appetite, raise or lower our heart rate, and even influence our mood.***
The Problem with “One-Size-Fits-All” Colour Psychology
The simplicity of statements like “red is vibrant and emotionally charged, blue is calming and clear, green means hope and health…” is tempting. But the reality is far more complex.
Our own life experiences and memories influence how we perceive colour. So does cultural context, our mood on a given day, and even medical conditions. Take me, for instance. On days when I feel powerful, confident, and full of energy, I might throw on a red sweater to enhance that feeling. But on days when I’m tired and overwhelmed, even bright shopping mall lights irritate me—and there’s no way I’d go near a screaming-red wall with a discount sign, no matter how badly I need the item.
In branding, the story gets even more nuanced. Red works well for Coca-Cola, but why? Because it’s balanced with touches of white and integrated skillfully into a broader brand identity that we all recognize and couldn’t imagine any other way.
Personally, I lean more toward the idea that some colours simply go well together, creating harmony that our brains perceive as beautiful.
Enter: Color Theory (Applause!)
This is where colour theory comes into play. Instead of relying on vague psychological assumptions, it offers designers practical, proven tools to create visually stunning and emotionally resonant designs.
Colour theory is like the designer’s cheat sheet—it’s the science, art, and logic behind why certain colours work together and others… don’t. It’s the reason a red-and-green combo screams “Christmas!” and why pastel pink and mint green can instantly make us think of spring weddings or retro diners.
At its heart, colour theory is about creating harmony. It’s the study of how colours interact, how they affect each other, and, most importantly, how they make us feel when we see them.
To get into the nitty-gritty, colour theory revolves around three main building blocks:
The Color Wheel
You’ve probably seen this iconic circle in school—or on the packaging of every art supply kit ever. It’s a visual representation of colours arranged logically based on their relationships. Invented by Sir Isaac Newton (yes, the gravity guy), the colour wheel shows us primary colours (red, yellow, blue), secondary colours (green, orange, purple), and tertiary colours (all the fancy in-betweens).
It’s also the ultimate matchmaking tool for designers. Want drama? Go for complementary colours (those directly opposite each other on the wheel, like blue and orange). Want calm? Try analogous colours (next to each other, like green, blue-green, and blue).
Colour Harmony
Think of harmony as the “ahhh” moment when colours just work. It’s about creating balance—neither too chaotic nor too bland. There are classic schemes designers use to achieve this, like:
Monochromatic: Variations of a single colour (think 50 shades of blue).
Triadic: Three colours evenly spaced on the wheel (like a vibrant traffic light).
Split Complementary: A main colour paired with two colours next to its complement (fancy and less predictable).
The Emotional and Cultural Context
Colour theory isn’t just about rules; it’s about storytelling. Colours evoke emotions and associations. A sunny yellow might feel cheerful and optimistic to one person but overwhelming and anxiety-inducing to another. This is where things get personal—and cultural.
Take purple, for example. In Western cultures, it’s often associated with royalty and luxury (because purple dye used to cost a fortune). But in some parts of Asia, it’s linked to mourning. Same colour, completely different vibes.
When I attempt to create a design for a client and start thinking about colour theory, I never assume anything or say something like, 'Oh, you want your customers to feel safe and secure? Let’s go for blue, mate!' Instead, I open a discussion about the message: Who is it for? What do we want to communicate? And how can we use colour to achieve that?
In short, colour theory gives designers the tools to create meaningful, intentional designs that don’t just look good—they feel right.
And for me it is all about the feeling. And functionality of course. (;
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