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Colour palette and typography form the visual foundation of a brand. Once the mood board is approved, these elements are the first concrete steps towards building a recognisable identity. In India, several iconic brands are instantly identifiable through colour and type alone. Zomato’s red, Swiggy’s orange, Nykaa’s pink, Amul’s blue, and Tata’s deep blue all signal specific emotions and expectations before a single word is read. Colour and font choices influence how a brand is perceived across billboards, packaging, social media, and digital platforms, making them critical to long-term brand consistency and recall.

A colour palette is a defined system of colours that a brand consistently uses across all touchpoints. This typically includes primary colours, which the brand is most closely associated with, supported by secondary and accent colours that add flexibility and depth. Typography works in a similar fashion as well. Brands usually define a primary font for headlines and key communication, along with secondary fonts for body copy or functional use. Together, colours and fonts operate at an atomic level, meaning every piece of communication, from a hoarding to an Instagram post, is built using these foundational elements.

At Confetti, colour and font decisions are not made in isolation. Once a visual direction is established through mood boards, we explore different hues, saturation levels, and tints to build a colour system that aligns with the brand’s personality and positioning. Rather than finalising a palette on swatches alone, we apply these colours and fonts to real use cases early in the process.
This includes creating dummy social media posts, packaging mock-ups, and basic marketing assets using proposed colour and font combinations. Seeing these elements in context allows both the team and the client to evaluate decisions based on how the brand will actually appear in the real world. The same approach is followed for typography, ensuring that readability, hierarchy, and tone are tested across formats before final approvals. This method grounds decision-making and significantly reduces ambiguity later in the design process.
Colour and typography often create friction when they are approached too abstractly. Some common mistakes include:
By testing colours and fonts through real brand assets early on, potential issues are addressed upfront, saving time and avoiding surprises close to the finish line.

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Colour palettes and fonts do a lot of work before a single word is processed. They shape how a brand is felt in the first few seconds, whether it comes across as confident, approachable, premium, or trustworthy. Over time, these visual cues also become shortcuts for recognition. People may not remember the exact message, but they remember how the brand looked and how it made them feel.
You can see this clearly with brands like Olly, known for its bright, optimistic colours, or Minimalist, which leans into clinical typography and restraint to signal transparency and focus. At Confetti, colour and type exploration typically takes four to six days, allowing us to test how different directions land emotionally and visually. If you want to explore what your brand should communicate at first glance, this is a conversation worth having early on with our team on a quick call.
Most brands work best with a restrained system rather than an overloaded one. Typically, that means one primary colour palette, one or two supporting palettes, and two font families that work well together. This keeps the identity flexible without becoming messy. When too many colours or typefaces are introduced, consistency starts to slip, and the brand becomes harder to recognise across different touchpoints.
You can see the power of restraint in brands like Skims, which keeps its palette deliberately minimal to maintain a calm, premium feel across everything it puts out. At Confetti, we also go deeper by defining colours separately for digital and print, because they behave very differently in real-world use. If you’re worried about overdesigning or overcomplicating your identity, a quick call with our experts at Confetti can help sense-check what’s truly needed and what can be left out.
Colours and fonts only work if they hold up in real use, not just on a presentation slide. That’s why they need to be tested across the places they’ll actually live, from packaging and social media to websites and printed material. Many D2C brands run into trouble when colours that look great on screen fall flat on packaging, or when type that reads well digitally loses impact in print.
At Confetti, this testing is built directly into the design phase. We define separate colour values for digital and physical use so the identity stays consistent across every touchpoint. This helps avoid unpleasant surprises once things go live. If you want to pressure-test how your colours and fonts will perform in the real world, it’s worth hopping on a call with our experts and walking through your use cases together.
Trends can be useful as reference points, but they shouldn’t be the foundation of a brand’s visual identity. Trend-led colours and typefaces tend to date quickly, which can force brands into frequent refreshes and erode recognition over time. Consistency is what builds familiarity and trust, especially when a brand is growing and needs to be recognised across many touchpoints.
A good example is Glossier. Its look has evolved gradually over time, but it has never abandoned the visual cues that make it instantly recognisable. At Confetti, we design identity systems with a five to seven-year horizon in mind, so they can adapt without losing their core. If you’re trying to balance staying relevant with building something that lasts, a short call with our team can help you make those choices with confidence.
Colour and typography should be finalised once the logo direction is clear, but before the identity is rolled out across assets. At this stage, the brand’s visual logic is taking shape, which makes it the right moment to lock the elements that will appear everywhere. When colours and type are left too late, teams often end up revisiting work or making compromises just to keep things moving.
Most strong D2C brands finalise these choices early for exactly that reason. It reduces rework and gives everyone a clear system to design within. At Confetti, colour and typography are typically locked by Week 2 of identity design, once direction is established, but before execution scales. If you want to make sure the order of decisions in your project is working for you rather than against you, we can help plan that sequence together in a short call.
