How to choose colour and contrast for printed materials that benefits people with sight problems

This factsheet may only be reproduced in its entirety and not in part.

Contents

Introduction	2

1.	General design principles for people with sight problems	2

2.	Specific issues arising from colour vision deficiency (colour blindness)	9

3.	Luminous contrast	12

4.	Lighting	13

Appendix 1: Basic colour theory	15

Glossary	19

Further information	21

Introduction

The basic design principles and recommendations outlined in this information relate to the best possible use of colour and contrast in printed materials for people with sight problems. This information will also be useful to anyone designing products or interiors that will be used by people with sight problems.

General design principles for people with sight problems

This section describes in more detail colour issues that need to be taken into consideration when designing for people with sight problems. In general, people with sight problems tend to prefer to read text that stands out strongly against a background or paper substrate. This can be achieved with good contrast between the text and background paper colour.

1.1	Paper colour

Some people with sight problems like to read black text on white or yellow paper, as this provides good colour contrast. The black type on yellow paper colour combination is often used by organisations, as they believe it is what all partially sighted people prefer. Be aware that this isn’t the case and that not every partially sighted reader will be happy with this. People with certain eye conditions, or a combination of eye conditions will have different preferences.

1.2 Printing dark ink on light backgrounds

It’s acceptable to use coloured paper stock provided that it is a very pale or a pastel shade. Tints of colours can also be printed onto paper, (to give a different overall background colour to all or part of a page), provided that these tints are no more than 10 to 15 per cent tints of the solid colour. Text should never be reproduced as a 10 to 15 per cent tint of a solid colour over a white, cream or pastel background. It will be virtually invisible to a person with sight problems.

An example of acceptable pastel paper shades

1.3 Printing light inks on dark backgrounds

If the paper colour is very dark, then the text printed on the paper has to be white or very pale. It is very difficult to print white or pale coloured ink on dark backgrounds. Ink has to be built up in layers and this can be costly and time-consuming. A better way is to print a dark background and “reverse” the text out of the colour. This means that wherever text falls on the page, no ink is printed allowing the background colour of the paper to show through.

The examples below show white text reversed out of solid red, blue and black backgrounds.

1.4 Solid ink and tint colours

The diagram below shows examples of how a single colour can be divided into percentage tints.

Five to 15 per cent show the tints that can be printed as pale background colours and have dark text overprinted.

80 to 100 per cent are the ones that can have white or pale text reversed out.

In both cases there is acceptable contrast between the text and background. Examples of white text reversed out of a solid colour and black text printed over a 15 per cent tint are also shown.

1.5 Ink contrast

Examples of acceptable ink contrast on pastel papers

The diagram below shows different densities of ink in the text on a pale coloured background. The paler the ink in the text, the harder it is to read.

The pale colour in the boxes is a 10 per cent tint. The text in column two is 100 per cent solid colour and this provides enough contrast with the background tint. The text in column three is a 20 per cent tint of the colour in column two. This doesn’t provide enough contrast with the background tint.

1.6 Ink colour

Black is the most accessible colour for text. Other colours can be used but care must be taken to choose a colour that contrasts from the background colour or paper stock.

If other colours are used, on a white or pale background, make the colour as dark as possible to provide good contrast against the paper. Red, green and blue are acceptable as long as the ink colour is dark (for example, a dark burgundy colour for red as opposed to pillar-box red).

Yellow must never be used as a colour to print text on white or pale backgrounds, as it is virtually invisible. Pale colour combinations should be avoided. For example, pale grey text on a pale blue background is illegible and inaccessible.

The three colour combinations in the diagram below all have poor contrast.

1.7 Tonal contrast

When designing for partially sighted people, try not to rely on colour alone as the only way of providing contrast. Two colours next to each other such as green and brown in the diagram below might appear to be very different as colours but are very similar in tone. This is caused because the saturation (or pureness) of the two colours is similar. If you remove the colour then both are revealed as similar shades of grey.

If you have any doubts about the tonal contrast between two colours, photocopy the image in black and white and check that the tonal contrast is acceptable.

1.8 Examples of poor tonal contrast

Yellow on purple or blue can work very well as a screen contrast but can be difficult for people with colour vision deficiency to see clearly.

Bright red text on a white background is difficult for most people with sight problems to see properly.

Text set in colour should always be carefully checked against any background colours for poor tonal contrast. (Use the photocopying technique).

1.9 Complementary colours

Care should be taken when using certain colour combinations such as complementary colours Complementary colours sit opposite each other on the colour wheel and they can produce colour combinations that are difficult for people with colour vision deficiency (colour blindness) to see. The two combinations that cause the most difficulty are red and green or yellow and violet/purple. These can be quite jarring if used closely together especially if similar tonal contrast is used. Complementary colour combinations can be used together if there is enough tonal contrast between the two colours.

Below is a diagram showing how complementary colours sit opposite each other on the colour wheel. Red is opposite green, Orange is opposite blue/green and yellow is opposite violet.

Specific issues arising from colour vision deficiency (colour blindness)

2.1 What is colour vision deficiency?

Approximately eight per cent of men and one per cent of women have a form of colour vision deficiency.

Colour vision deficiency can be genetic, inherited or acquired through illness, accident or poisoning. It is often a life-long condition, though deficiencies that are acquired may fluctuate.

Colour vision deficiency is most common in industrial nations, with the most common form being inherited red-green weakness. A single gene causes the deficiency, and it is males who are more prone to the condition.

Rods and cones are the receptors in the back of the eye. Rods respond to brightness and cones respond to colour. Colour blindness is often caused when there is a problem with the cones. There are three types of cone receptors: red, blue and green.

Dichromatism

Dichromatism occurs when one of the three cone receptors is missing. There are three forms of dichromatism: protanopia, deuteranopia and tritanopia:

Protanopia is the absence of red sensitivity resulting in confusion between red, green, brown and some purple hues.

Deuteranopia is the absence of green sensitivity, causing confusion between red, green, blue and purple.

Tritanopia is the absence of blue sensitivity; therefore blue and green hues cannot be discriminated. This condition is rare.

Anomalous trichromatism

Anomalous trichromatism occurs when there is altered sensitivity in one of the three cone receptors as opposed to the absence of cone receptors. There are three forms: protanomaly, deuteranomaly and tritanomaly:

Protanomaly is an altered sensitivity in the red cones.

Deuteranomaly is an altered sensitivity in the green cones. This deficiency is the most common.

Tritanomaly is a blue sensitivity. This condition is rare.

Achromatopsia

Achromatopsia (or monochromatism) is the inability to distinguish any colour. There are two types of monochromatism:

Rod monochromatism – A rod monochromat has no functional cone receptors, which results in poor vision and other possible eye conditions like Myopia and Nystagmus.

Cone monochromatism – A cone monochromat has functional cone receptors but no colour perception seeing only in grey, black and white.

Four images simulating different colour vision deficiencies

Normal vision

Protanopia

Deuteranopia

Tritanopia

2.2 Design Recommendations and colour issues for people with colour vision deficiency

Some colour combinations should be avoided as they may cause problems for people with a colour vision deficiency (colour blindness). This is more apparent if the two colours are very similar in hue, saturation and contrast. The most difficult combinations are red and green or yellow and purple.

Never set text in red on a green background. This combination will be invisible to anyone with colour vision deficiency. This is mainly due to similarity in tonal contrast. Yellow and purple can be used if the tonal contrast is adequate.

Luminous contrast

Luminous contrast is described as the amount of light reflected from one surface or component, compared to the amount of light reflected from the background or base surfaces.

Luminous contrast is used in conjunction with colour and tonal contrast to provide light/dark differences that can be picked up more easily by people with sight problems.

Two quite differently coloured surfaces may have a similar luminous contrast. For example, cherry red on black has a high colour contrast but low luminous contrast and is not as visible as pale pink or yellow on black to people with sight problems.

A 30 per cent luminous contrast difference between two colours is generally the minimum discernible by a person with partial sight. Black and white has a 100 per cent luminous contrast. Grey and black or grey and white have a 50 per cent luminous contrast.

The diagram below shows four colours and their luminosity (or lightness) at 15 per cent, 50 per cent and 100 per cent.

Lighting

Contrast will only work for partially sighted people if there is an appropriate quantity and quality of lighting with which to view the contrasting elements. At low light levels, the perception of contrast diminishes. Lighting levels should generally be relatively uniform and about 25 per cent higher for people with low vision. Strong directional lighting casts shadows that can mask contrasting surfaces. Significant fluctuations in lighting level can reduce visibility due to the slower adaptive response of the eye in someone with low vision.

In terms of visual contrast, British Standard 8300:2009 recommends a minimum difference in Light Reflectance Values (LRV) of at least 20 points, although 30 is preferred.

LRV describes the amount of light a surface reflects. It defines the lightness or darkness of a surface, which has a scale of 0 - 99: the higher the number, the lighter the surface.

Sufficient visual contrast will be achieved if the difference in LRV between adjacent critical surfaces is 30 points or more.

Effective uses of lighting contrast include:

Contrasting tactile warning strips to indicate the start and finish of a ramp.

Contrasting doorframes, doors, skirting boards and architraves to assist with locating doors.

Contrasting paving at doorways to assist with locating the entry.

Contrasting edges of steps, a roadway or poles in play areas to highlight potential hazards.

Below is an image showing handrails that contrast against floors and walls. Tactile warning areas indicate the beginning and end of steps.

Appendix 1: Basic colour theory

Colour models and colour terms

There are two main methods of mixing colours – the additive and subtractive methods of colour mixing. The additive method is used in a screen environment (mixing light) and the subtractive in a printed environment (mixing pigments).

Additive method

The additive colour mixing process uses the primary colours of red, green and blue light to produce other colours. The diagram below shows how combining one of these primary colours with another in equal amounts produces the secondary colours cyan, magenta, and yellow. Combining all three primary colours in equal intensities produces white.

Subtractive method

In colour printing, the primary ink colours used are cyan, magenta, and yellow. The subtractive method works by reflecting light from the paper (or substrate) through the cyan, magenta and yellow inks. The diagram below shows how combinations of different amounts of the three inks can produce a wide range of colours. A fourth colour – black is added as cyan, magenta and yellow combined produce a muddy brown. Black helps to improve the final print image.

How to mix colours on screen

Mixing additive colours on screen can be carried out using software that changes the values of Red, Green and Blue (RGB). Altering the RGB values produces a wide range of other colours. In the software screenshot example below, sliders are used to alter RGB values or if known, the RGB values can be typed directly into a box.

Mixing subtractive colours or pigments uses the CMYK method (Cyan, Magenta, Yellow and Black). Black is referred to as “K” as it is used to “key” or align the other colours. Other methods such as Pantone colours can also be used. Pantone uses a system of number-coded colours that can be mixed using CMYK inks or produced as one-off special colours. In the screenshot example below, software using sliders or value boxes can be used to mix CMYK colours in the same way as RGB colours.

Hue, Saturation and Luminosity

Hue, Saturation and Luminosity (the HSL system) is another method of mixing colours on screen.

Hue: The basic colour such as blue, green, yellow, red and purple.

Saturation: How pure (compared to how dull) the colour is.

Luminosity: how much light appears to be reflected from a coloured surface in relation to nearby surfaces.

Although it’s impossible to use this system in a printed environment, printed colours are often referred to as having a hue, saturation or luminosity. This is further explained in the sections on colour vision deficiency and luminous contrast.

Glossary

General design principles for people with sight problems

Substrate: the surface to be printed on, for example paper.

Tint: a percentage of the solid colour – a shade or variety of the same colour.

Reverse: printing a solid colour and allowing the background colour of the paper to show through where the text is.

Tonal contrast: the difference between light and dark in two colours placed in close proximity.

Complementary colours: it opposite each other on the colour wheel.

Specific issues arising from colour vision deficiency (colour blindness)

Colour vision deficiency: the inability to distinguish between certain colours for example red and green or blue and yellow.

Luminous contrast

The amount of light reflected from one surface or component, compared to the amount of light reflected from the background or base surfaces.

Lighting

LRV: Acronym means Light Reflectance Values. Describes the amount of light a surface reflects.

Appendix 1 – Colour mixing

Additive method: the additive colour mixing process uses the primary colours of red, green and blue light to produce other colours.

Subtractive method: in colour printing, the primary ink colours used are cyan, magenta and yellow.

RGB: acronym means Red, Green and Blue.

CMYK: acronym means Cyan, Magenta, Yellow and Black. Black is referred to as ‘K’ as it is used to ‘key’ or align the other colours.

Pantone: the Pantone colour system uses number-coded colours that can be mixed using CMYK inks or produced as one-off special colours.

HSL: acronym means Hue, Saturation and Luminosity. The HSL system is another method of mixing colours on screen.

Hue: describes the basic colour such as blue, green, yellow, red and purple.

Saturation: how pure (compared to how dull) the colour is.

Luminosity: how much light appears to be reflected from a coloured surface in relation to nearby surfaces.

Further information

Aitken, S., Ravenscroft, J. and Buultjens, M, (2000). The Assessment of reading performance by visually impaired adolescents with modified print. London: RNIB.

Anon. How to Meet WCAG 2.0: A customizable quick reference to Web Content Accessibility Guidelines 2.0 requirements (success criteria) and techniques.

Anon. Use of Color: Understanding SC 1.4.1. Web Content Accessibility Guidelines 2.0.

Anon. Vision Awareness: Colour Survey, conducted by JBC. Viewpoint. Summer/Autumn 2008, pp48-50.

Anon, [2008]. Web Content Accessibility Guidelines (WCAG) 2.0: W3C Recommendation 11 December 2008

Arditi, A. (2009). Effective Colour Contrast [online]. New York: Lighthouse International.

Arditi, A., Knoblauch, K. (1996). Effective Colour Contrast and Low Vision. In Rosenthal, B., Cole, R. (Eds.) Functional Assessment of Low Vision. St Louis: Mosby, pp129-135.

Gaster, L., and Clark, C. (1995). A Guide to Providing Alternative Formats. Washington, DC: South Carolina State Vocational Rehab. Dept.; National Inst. on Disability and Rehabilitation Research.

Hess, R. (2000). Can Color-Blind Users See Your Site? Microsoft Corporation.

Knoblauch, K., and Arditi, A. (1994). Choosing Colour Contrasts in Low Vision: Practical Recommendations. New York: Vision Research Lab and the Lighthouse Research Institute.

Knoblauch, K., and Arditi, A. (1994). Choosing Effective Display Colours for the Partially Sighted. New York: The Lighthouse Research Institute.

McDonald, S. (2006). Colour Vision and Sight Loss: What colour vision loss means to me. Insight, Issue 2 (Mar/Apr 06), p18-19.

McIntyre, D. (2002). Colour Blindness: Causes and Effects. Chester: Dalton Publishing.

Papadopoulos, K.S., Goudiras, D.B. (2005). Accessibility assistance for visually-impaired people in digital texts. British Journal of Visual Impairment, 23 (2), pp75 - 83.

RNIB Corporate Publishing Team. Designing Clear Print in Colour. London: RNIB

Rughani, S. (2006). Colour Vision and Sight Loss: Practical pointers for everyday life. Insight, Issue 2 (Mar/Apr 06), p20-21.

Lee, E. (2009). Use of Colour and Colour-Contrast Standards v1.5. BBC Future Media Standards and Guidelines.

Web Access Centre. Colour contrast. London: RNIB.

Wilkinson, I. (2005). Inclusive Design: Clear and Large Print Best Practice Guide for Designers. RNIB and International Society of Typographic Designers.

Wilson, D. (1996-2003). Colour Vision, Colour Deficiency. Firelily Designs.

Wolfmaier, T.G. (1999). Designing for the Color-Challenged: A Challenge. Human-Computer Interaction Resources Network.

Last updated: 18 July 2019

End of document.

rnib.org.uk

Call 0303 123 9999

Bringing together people affected by sight loss

RNIB A4 fact sheet

connect poster; connect; posters; poster template

Susan Martin

2023-04-23