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Legibility.
The first consideration when lettering or signwriting is that of legibility.
To most people it may appear that a white/black combination would be the
most legibile. In printed matter this is indeed the case, where the letters
are generally very small and focus is very close, and there are not many
periferal distractions. Where focus is distant or relatively so, many colours
and patterns capture the attention of the eyes, and certain combinations
of colours stand out more vividly than others. This is the basis of the Le
Courrier legibility list.
Even if you don't do your own lettering or signwriting, but ordering a computer
generated sign, this list is worth consulting.
Colour combinations in descending order of legibility.
1. Black on Yellow ground.
2. Green on White
ground.
3. Red on White ground.
4. Blue on a White ground.
5. White on Blue ground.
6. Black on a White ground.
7. Yellow on a Black ground.
8. White on a Red ground.
9. White on a Green ground.
10.White on Black ground.
11.Red on a Yellow
ground.
12.Green on a Red ground.
13.Red on a Green ground.
It must be observed, however, that red, green, blue and yellow are indefinite
terms, and it is implied that intense shades of each must be used.
Too often, when signs are written on a white ground in black, or vice versa, a dead white is used. As a rule, a broken white or cream is just as effective and rather more pleasing, particularly where gold is employed in addition. Gold leaf has a richness all its own and shows to good effect on natural wood grain or on grained work; it looks better, in most cases, on a semi-gloss than on a full-gloss ground—a point worth remembering for interior work.
Whatever colours are used, it is essential, in the interests of legibility, that there should be marked tonal contrast between that of the ground and that of the lettering. As an alternative to black, other dark colours can advantageously be used at times, either for the ground or the lettering. Holly-green and dark brown are very suitable for the purpose, as are dark blues and reds.
The addition of an outline of uniform width to the body of a letter can be very attractive if carried out in a contrasting colour; this is a simple way of imparting ornament and it also provides the opportunity of correcting any slight irregularities which may have occurred in the execution of the work.