Colour has always been important; from the earliest daubs of ochre on the prehistoric face or cave wall to the 67 million different colours that it is possible to display on a computer screen. Colour is the music of the eyes, it can alter mood, stimulate emotion, create harmony or discord and so is a powerful tool in the designer's arsenal.

Colour is laden with associations both symbolic and literal. Red is dominant, redolent of blood, a favourite for flags and warnings, perhaps because it contrasts well against the natural (green) and built (grey) environments. Blue is cool as sky and ice, calm and still.

Little wonder then that multi-nationals invest so much in their corporate identity, a major component of which is colour. Witness Kodak yellow or IBM blue.

Identity manuals carefully specify the exact colours, CMYK or PANTONE® for print, RGB for web and stipulate how colours may be used. This is important as colours invariably appear together and can clash with or compliment each other.

Smaller companies may not have such developed ideas about colour. You may find your client has irrational likes and dislikes that have to be accommodated. Be prepared to justify your colour choices and do remember that there will be times when colour will not be used, faxes and bulk packaging for example.

Use the connotations that all colours have to support your design objectives - bright colours imply youth, subdued colours, maturity; colour combinations such as browns and creams suggest tradition and clashing shades of red and green imply anarchy. The look and feel of your layout will determine the reader's response. If the design works well, the reader will absorb the client's message. If it doesn't, you may be looking for a new client.