Analysis of cross-cultural color emotion (original) (raw)
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Influence of Different Cultures and Display Media on Colour Emotions
2019
This study investigates whether colour emotions are affected by different cultures, display media, and subject's educational backgrounds. Psychophysical experiments were carried out at three locations, two in Britain and the other in Taiwan. In the experiments single colours and colour pairs were presented on Cathode Ray Tube (CRT) monitors and were assessed on four colour-emotion scales. Colour samples used in the previous experiment were accurately reproduced in the present experiments onto CRT monitors. This allows the same colours to be assessed at different locations. The four colour-emotion scales used in the experiments include 'warm-cool', 'heavy-light', 'active-passive', and 'like-dislike'. A total of 49 subjects took part in the experiments. The experimental data obtained from the three locations were compared. The results show little difference in colour emotions for colour pairs between different cultures (British vs. Taiwanese), diffe...
A study of colour emotion and colour preference. Part I: Colour emotions for single colours
Color Research and Application, 2004
This article classifies colour emotions for single colours and develops colour-science-based colour emotion models. In a psychophysical experiment, 31 observers, including 14 British and 17 Chinese subjects assessed 20 colours on 10 colour-emotion scales: warm–cool, heavy–light, modern–classical, clean–dirty, active–passive, hard–soft, tense–relaxed, fresh–stale, masculine–feminine, and like–dislike. Experimental results show no significant difference between male and female data, whereas different results were found between British and Chinese observers for the tense–relaxed and like–dislike scales. The factor analysis identified three colour-emotion factors: colour activity, colour weight, and colour heat. The three factors agreed well with those found by Kobayashi and Sato et al. Four colour-emotion models were developed, including warm–cool, heavy–light, active–passive, and hard–soft. These models were compared with those developed by Sato et al. and Xin and Cheng. The results show that for each colour emotion the models of the three studies agreed with each other, suggesting that the four colour emotions are culture-independent across countries. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 232–240, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20010
A Cross-cultural study of emotional Responses on Colours
This article investigates human's emotional responses on coloursin Eastern Arabian Gulf culturebased on a questionnaire. Totally 10 colour options were evaluated (i.e. violet, orange, green, red, blue, yellow, black, gray, white and no color) by 80 subjects based on 12 basic descriptive variables including clean, fresh, liked, new, heavy, hard, warm, modern, active, tense, relaxing, concentration.White colour was associated with emotion: clean, new, relaxing and concentration. Yellow is associated with freshness; however, red is the most liked color. Black was linked with heavy, hard and tense emotions. Tense mood is associated with red. Insignificant differences between colourswith regard to warm mood were found. The link between colour preferences found for two topics living room and clothing and emotions elicited were discussed.
A Study of the Factors Affecting Colour Meaning and Emotional Response
Colour design research studies are concerned with identifying colour preferences and emotion elicited by colours, and a deep understanding of the aspects shaping these emotions will lead to better exploitation of colour design. This study highlights the aspects that contribute to human emotional response to colour. Hue, brightness and chroma are colour attributes used in different colour model identifying colours. Brightness and chroma in most studies affect the hue on colour emotion association. Colour context, texture and size are also discussed in terms of contribution to colour motion response. Other factors such as time span and culture impact the colour emotion link and aspects related to humans including personality, age, gender and preference to colour and/or emotion are discussed. The findings of this research will benefit marketers and designers to understand the effective usage of colour in design making in its aesthetical and functional aspects.
Color Research and Application, 2004
Eleven colour-emotion scales, warm–cool, heavy–light, modern–classical, clean–dirty, active–passive, hard–soft, harmonious–disharmonious, tense–relaxed, fresh–stale, masculine–feminine, and like–dislike, were investigated on 190 colour pairs with British and Chinese observers. Experimental results show that gender difference existed in masculine–feminine, whereas no significant cultural difference was found between British and Chinese observers. Three colour-emotion factors were identified by the method of factor analysis and were labeled “colour activity,” “colour weight,” and “colour heat.” These factors were found similar to those extracted from the single colour emotions developed in Part I. This indicates a coherent framework of colour emotion factors for single colours and two-colour combinations. An additivity relationship was found between single-colour and colour-combination emotions. This relationship predicts colour emotions for a colour pair by averaging the colour emotions of individual colours that generate the pair. However, it cannot be applied to colour preference prediction. By combining the additivity relationship with a single-colour emotion model, such as those developed in Part I, a colour-appearance-based model was established for colour-combination emotions. With this model one can predict colour emotions for a colour pair if colour-appearance attributes of the component colours in that pair are known. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 292–298, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20024
A Cross-Cultural Study on Colour Emotion and Colour Harmony
2004
This study investigates: (a) the relationship between colour combinations and adjective combinations and (b) to verify the colour harmony theory developed by Angela Wright (called the Wright theory in this study). Two experiments were carried out with subjects from the following six countries: Britain, China, France, Germany, Spain, and Sweden. In Experiment 1, 100 adjectives and 32 colours were used as stimuli presented on a calibrated Cathode Ray Tube (CRT) monitor. All the colour stimuli were selected evenly from four colour groups, CG 1 to CG 4, which were defined according to the Wright theory, and so were the adjectives, which were selected from four adjective groups, AG 1 to AG 4. In each trial of the experiment, four 5-colour wheels and one 5-adjective combination were presented altogether on the CRT. Subjects were asked to correlate one from the four colour wheels with the adjective combination presented. Experimental results show good agreement between the subject responses and the Wright theory, especially on AG 2. In Experiment 2, subjects were presented with two colour wheels in each trial and were asked to choose the one that appeared more harmonious than the other. Experimental results show good agreement between the subject responses and the Wright theory. The comparisons of experimental data between subject groups (from the six countries) show little cultural effect on colour harmony. A Cross-cultural Study on Colour Emotion and Colour Harmony. A Cross-cultural Study on Colour Emotion and Colour Harmony This study investigates: a) the relationship between colour combinations and adjective combinations and b) the verification of colour harmony theory developed by Angela Wright (the Wright theory). Two experiments were carried out with subjects from the 6 cultures: British, Chinese, French, German, Spanish, and Swedish. In the first experiment, 100 adjectives and 32 colours were used as stimuli presented on a calibrated Cathode Ray Tube (CRT) display. All the colour stimuli were selected evenly from the 4 colour groups, CG 1 to CG 4, defined by the Wright theory, and so were the adjectives, from AG 1 to AG 4. In the experiment 5-colour wheels and 5-adjective combinations were generated from the stimuli. Subjects were asked to correlate colour wheels with adjective combinations in terms of colour emotion. Experimental results show good agreement between subject responses and the Wright theory especially in AG 2. In Experiment 2, subjects were presented with 2 colour wheels for each trial and were asked to choose the one that appeared to harmonise better than the other. Experimental results show good agreement between subject responses and the Wright theory in all the CGs. The comparisons of experimental data between subject groups show little cultural effect on colour harmony, suggesting that colour harmony is independent of cultural context.
A cross-cultural comparison of colour emotion for two-colour combinations
Color Research & Application, 2010
gentina, and Iran to assess colour emotion for two-colour combinations using semantic scales warm/cool, heavy/ light, active/passive, and like/dislike. A total of 223 observers participated, each presented with 190 colour pairs as the stimuli, shown individually on a cathode ray tube display. The results show consistent responses across cultures only for warm/cool, heavy/light, and active/passive. The like/dislike scale, however, showed some differences between the observer groups, in particular between the Argentinian responses and those obtained from the other observers. Factor analysis reveals that the Argentinian observers preferred passive colour pairs to active ones more than the other observers. In addition to the cultural difference in like/dislike, the experimental results show some effects of gender, professional background (design vs. nondesign), and age. Female observers were found to prefer colour pairs with high-lightness or lowchroma values more than their male counterparts. Observers with a design background liked low-chroma V
A study of colour emotion and colour preference. Part III: Colour preference modeling
Color Research and Application, 2004
In this study three colour preference models for single colours were developed. The first model was developed on the basis of the colour emotions, clean–dirty, tense–relaxed, and heavy–light. In this model colour preference was found affected most by the emotional feeling “clean.” The second model was developed on the basis of the three colour-emotion factors identified in Part I, colour activity, colour weight, and colour heat. By combining this model with the colour-science-based formulae of these three factors, which have been developed in Part I, one can predict colour preference of a test colour from its colour-appearance attributes. The third colour preference model was directly developed from colour-appearance attributes. In this model colour preference is determined by the colour difference between a test colour and the reference colour (L*, a*, b*) = (50, −8, 30). The above approaches to modeling single-colour preference were also adopted in modeling colour preference for colour combinations. The results show that it was difficult to predict colour-combination preference by colour emotions only. This study also clarifies the relationship between colour preference and colour harmony. The results show that although colour preference is strongly correlated with colour harmony, there are still colours of which the two scales disagree with each other. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 381–389, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20047