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There is system in color preference
... Kárpáti, 2001a). Guilford (1940) megállapította, hogy a három-és négyéves gyerekek nagyszámú veleszületett vagy tanult színasszociációkkal rendelkeznek, melyeket alkotás közben bontakoztatnak ki, vagy éppen akkor, amikor egy könyvben megjelenő illusztrációt figyelnek meg. Gyakran a mesekönyvekben látott példák alapján látják szomorúnak a sötét színekkel színezett figurákat, és az élmény megmarad bennük, így később a hasonló színeket a szomorú figurákhoz társítják (Guilford, 1940). ...
... Guilford (1940) megállapította, hogy a három-és négyéves gyerekek nagyszámú veleszületett vagy tanult színasszociációkkal rendelkeznek, melyeket alkotás közben bontakoztatnak ki, vagy éppen akkor, amikor egy könyvben megjelenő illusztrációt figyelnek meg. Gyakran a mesekönyvekben látott példák alapján látják szomorúnak a sötét színekkel színezett figurákat, és az élmény megmarad bennük, így később a hasonló színeket a szomorú figurákhoz társítják (Guilford, 1940). Az idősebb, 10-11 éves gyerekeknél már a képi kifejezésben nem a szín a domináns expresszív médium (Zentner, 2001). ...
... A fiatalabb, 3-7 éves gyerekek a pozitív érzelmeket a világosabb színekhez, míg a negatívakat a sötétebb, kevertebb árnyalatú színekhez (mint amilyen a barna) társítják (Burkitt, 2004;Burkitt, Tala, & Low, 2004;Guilford, 1940), ami az alkotói és a befogadói folyamatokban is kibontakozik. Ezt alátámasztják a kultúrközi vizsgálatok is, például a fekete színhez az amerikai születésű gyerekek rémálmokban megjelenő jeleneteket, míg a brit és a finn gyerekek negatív témákat, az izraeli gyerekek negatív eseményeket társítanak (Burkitt, Tala, & Low, 2004as cited in Burkitt, 2004Mumcuoglu, 1991). ...
... For example, rank ordering --asking observers to arrange a series of colours in the order of their preference (Eysenck, 1941;Gelineau, 1981;Granger, 1955) -provides information on the order of preferences, but not on relative strength. Rating methods instruct the observers to gauge the power of individually presented colours, and thereby generate a quantitative representation of preference strength for each tested colour (Guilford and Smith, 1959;Helson and Lansford, 1970;Ling and Hurlbert, 2007;Reddy and Bennett, 1985;Palmer and Schloss, 2010). The most accurate, yet also most time consuming, method is to perform pair-wise comparisons for a group of colours (Dorcus, 1926;Choungourian, 1968;Ling et al., 2006;McManus, et al., 1981;Ou et al., 2004). ...
... Preferences are consistently found to be highest in the region of blue to green and lowest in the region of yellow and yellowgreen (e.g. Guilford and Smith 1959). Eysenck's (1941) description of a general order of preference (blue, red, green, purple, orange and yellow) is remarkably similar to Jastrow's list, obtained 50 years earlier and with a more limited method, and has been largely supported by subsequent studies (Camgoz et al., 2002;Granger, 1952Granger, , 1955Guilford and Smith, 1959;Helson and Lansford, 1970;McManus, et al., 1981;Ou et al., 2004). ...
... Guilford and Smith 1959). Eysenck's (1941) description of a general order of preference (blue, red, green, purple, orange and yellow) is remarkably similar to Jastrow's list, obtained 50 years earlier and with a more limited method, and has been largely supported by subsequent studies (Camgoz et al., 2002;Granger, 1952Granger, , 1955Guilford and Smith, 1959;Helson and Lansford, 1970;McManus, et al., 1981;Ou et al., 2004). More recent data from Hurlbert and Ling (2007) and Palmer and Schloss (2010) are also in broad agreement with these studies, again placing 'blue' in the most preferred position and 'greenish-yellow' in the least preferred position, on average across the populations studied. ...
Colour is a critical cue for many vital behavioural tasks: material identification, object recognition and social-sexual signalling, for example. Given the importance of the behavioural uses of colour, and the known perceptual and physiological properties of colour vision, it is likely that preference for coloured objects drives preference for colours themselves. The underlying universality in patterns of human colour preference (liking for blue, dislike for yellow and yellow-green) supports the notion of evolved emotional responses to colour. More recent studies demonstrate both universality and individuality of colour preference, as well as mutability across culture and age. These variations in preference, and other evidence, argue that the ability to form emotional associations to colour, whether on an ontogenetic or evolutionary time scale, is deeply embedded in human nature.
... For example, rank ordering --asking observers to arrange a series of colours in the order of their preference (Eysenck, 1941;Gelineau, 1981;Granger, 1955) -provides information on the order of preferences, but not on relative strength. Rating methods instruct the observers to gauge the power of individually presented colours, and thereby generate a quantitative representation of preference strength for each tested colour (Guilford and Smith, 1959;Helson and Lansford, 1970;Ling and Hurlbert, 2007;Reddy and Bennett, 1985;Palmer and Schloss, 2010). The most accurate, yet also most time consuming, method is to perform pair-wise comparisons for a group of colours (Dorcus, 1926;Choungourian, 1968;Ling et al., 2006;McManus, et al., 1981;Ou et al., 2004). ...
... Preferences are consistently found to be highest in the region of blue to green and lowest in the region of yellow and yellowgreen (e.g. Guilford and Smith 1959). Eysenck's (1941) description of a general order of preference (blue, red, green, purple, orange and yellow) is remarkably similar to Jastrow's list, obtained 50 years earlier and with a more limited method, and has been largely supported by subsequent studies (Camgoz et al., 2002;Granger, 1952Granger, , 1955Guilford and Smith, 1959;Helson and Lansford, 1970;McManus, et al., 1981;Ou et al., 2004). ...
... Guilford and Smith 1959). Eysenck's (1941) description of a general order of preference (blue, red, green, purple, orange and yellow) is remarkably similar to Jastrow's list, obtained 50 years earlier and with a more limited method, and has been largely supported by subsequent studies (Camgoz et al., 2002;Granger, 1952Granger, , 1955Guilford and Smith, 1959;Helson and Lansford, 1970;McManus, et al., 1981;Ou et al., 2004). More recent data from Hurlbert and Ling (2007) and Palmer and Schloss (2010) are also in broad agreement with these studies, again placing 'blue' in the most preferred position and 'greenish-yellow' in the least preferred position, on average across the populations studied. ...
Colour is a critical cue for many vital behavioural tasks: material identification, object recognition and social-sexual signalling. Given the importance of the behavioural uses of colour, and the known perceptual and physiological properties of colour vision, it is likely that preference for coloured objects drives preference for colours themselves. The underlying universality in patterns of human colour preference (liking for blue, dislike for yellow and yellow-green) supports the notion of evolved emotional responses to colour. More recent studies demonstrate both universality and individuality of colour preference, as well as mutability across culture and age. These variations in preference, and other evidence, argue that the ability to form emotional associations to colour, whether on an ontogenetic or evolutionary timescale, is deeply embedded in human nature.
... Many authors reported that all three attributes might influence single color preference (Camgoz, et al, 2002;Granger, 1955d;Guilford and Smith, 1959;Guilford, 1934). Others have found different results. ...
... For the precise relationship between color attributes and color preference, the results are quite consistent. Guilford (1934), Eysenck (1941), Granger (1955c), Guilford and Smith (1959), and Wijk et al. (1999), all found that blue was preferred the most and yellow was preferred the least when isolated colors were presented. The same result was stated by Washburn and Grose (1921) and Camgoz et al. (2002) regardless of the background colors viewed. ...
... Yellow and purple were ranked low, so were colors with strong yellow components like green yellow and yellow red. For the influence of lightness and chroma, Guilford (1934), Smets (1982), Guilford and Smith (1959), Sivik (1975), Helson and Lansford (1979), Camgoz et al. (2002) all stated that brighter and more saturated colors were more preferred. One exception came from Hogg (1969b) who found no systematic relationship for value but detected a tendency for colors in the mid-chroma region to be highly preferred. ...
... In another study by Eysenck, only six colors were used [55]. The order of preferred colors by both sexes were ranked blue> red> green>violet. ...
... Overall, highly saturated colors were preferred, blue and violet colors being preferred over colors that were more yellow or yellow-green in hue. These results have been confirmed across other studies [1,[55][56][57][58]. ...
There are numerous different dyes available, many varied fashion trends, and various different ways to change/enhance physical aesthetics. Predicting color preferences and how colors and color combinations, in a shape context, stimulate certain emotions, represents a challenging prospect. Color is a critical cue for sexual signaling, but what the preferred colors actually are in humans, is difficult to predict. Understanding color preferences and perception of color within a context such as attraction, is essential for improving color forecasting and gaining a deeper understanding of color perception. The appearance of color can change based on lighting, shape, texture, and the surrounding environment and associated colors. While these provide physical color characteristics, human vision and perception contributes to how a color appears to the individual. Perception is unique to each individual and is constantly changing due to the influence of a range of variables. This can cause someone to appear visually attractive or visually unattractive. By taking into account all the variables that contribute to human studies in color perception, tailored research can continue to be undertaken to further develop a deeper understanding of color perception and human attraction regarding visual stimulation.
... A large number of studies about perceptions of color have been conducted (e.g., color-emotion associations; Ballast, 2002;Birren, 1978Birren, , 1980Hemphill, 1996;Terwogt & Hoeksma, 2001;Wexner, 1982;color preference;Guilford & Smith, 1959;Mahnke, 1996;Rosenbloom, 2006;Saito, 1996). Considering the effects of colors on emotional states, colors may cause rather diverse reactions (Satio, 1996). ...
This explorative research investigates the impact of visual elements
in advertising, especially dominant colors, on brand personality.
An experimental study was conducted to suggest the links between colors (red, yellow, green, blue, purple, and black; Munsell, 1966) and the
five brand personality dimensions (Sincerity, Excitement, Competence,
Sophistication, and Ruggedness; Aaker, 1997), and examine the effects
of colors on building brand personality. The results suggest that yellow
is strongly associated with both Sincerity and Excitement dimensions
of brand personality. In addition, the results show that red increases
competent, sophisticated, and rugged personality associations. The results support the idea that certain dominant colors in advertisements lead to the generation of a particular brand personality.
... De nombreuses études ont porté sur les différences entre hommes et femmes. Les femmes seraient sur un plan général plus sensibles à la couleur (Guilford et Smith, 1959). Elles seraient capables d'en dénommer davantage (Green, 1995) et tendraient à choisir des nuances plus originales (Silver et Mac Culley, 1988). ...
... The law was fully supported. Later, Stevens and his associates (e.g., 1957Guilford, 1934Guilford, , 1940bGuilford, , 1949 Guilford & Smith, 1959 separately, although gender differences were small. There has been interest in these findings especially for motion-picture engineers and others concerned with optics (Guilford, 1940a) at the measurement of psychological variables determined by factor analysis (e.g., Guilford, 1940b Guilford, , 1948b). ...
Based upon experiences with most kinds of meth ods of psychological measurement, this article presents comments on a variety of uses, including psychophys ics, scaling, testing, and factor analysis. Some diffi culties are pointed out, some faults are mentioned, and a variety of applications are discussed, some of them unusual.
... Psychological evaluation of personality through color has been largely confined to a comparison of color responses with responses to other visual variablesform, texture, space, etc. Gale ( 1 ) and Guilford (2). represent investigators who have been concerned with the relationships of colors alone to personality, but their efforts have largely been confined to the investigation of single colors as they relate to personality differences. ...
... One consistent finding is that people in general tend to find short wavelength colors (blues and greens) as more pleasant than long wavelength colors (reds and yellows). For example, Guilford and Smith (Guilford 1959) asked participants to rate colors based on preference, which resulted in the following rank ordering from most to least preferred: blue, green, purple, violet, red, orange, and yellow. A similar result emerged from a very different study (Osgood, Suci, et al. 1957), in which participants across a number of cultures were asked to rate color words (e.g., " red " " green " ) using a semantic differential methodology. ...
The purpose of this experiment was to examine the effect of different web page text/background color combinations on users' retention and subjective perception. One-hundred and thirty-six participants were randomly assigned to one of four groups: black text on a white background (BW), white on black (WB), light blue on dark blue (B), or teal on black (TB). They then studied two Web pages, with a color combination consistent with their group assignment. One page contained information on the Neuron and the other consisted of information on a fictitious TV/DVD player. After studying each page they completed a quiz and survey. Analysis of the data indicated: a) Retention scores did not differ as a function of text/background color combinations; b) BW and B pages received the highest ratings for readability, and TB the lowest; c) B pages received the highest ratings for the aesthetic qualities; d) BW pages were perceived as most "professional"; e) Subjective readability ratings significantly predicted retention; and f) Users view "professionalism" as more strongly related to readability than aesthetics. Taken together, these results indicate that the relationship between font/background color combinations and outcomes is complex and often inconsistent with web guidelines posed by "web gurus".
We select clothes that we’re purchasing and wearing according to the meaning we believe them to have, or the messages we believe them to send. But what are psychological consequences of clothing, and how does clothing express something about the user? To assess the state of knowledge about the communicative nature of fashion, the aim of this review was to provide a concise and succinct literature overview of over twenty empirical studies of the above-mentioned concept. The psychology behind clothing is classified into 3 thematic categories in this paper: a) the meaning of colors in clothing psychology; b) the socio-psycological impact of clothing; and c) gender (in)equality regarding clothing. Finally the last chapter brings a concise study of a few recent fashion shows, brands and trends. It is doubtless that both clothing and appearance serve as an important socializing influence and a form of communication.
Hatten wir bisher den Weg der informationstragenden Signale ausschließlich im Bereich der physikalischen Übertragungsmedien verfolgt, so wollen wir nun das Schicksal der Signale beim empfangsseitigen Kommunikationspartner, dem Perzipienten, betrachten, d. h. im psychophysiologischen Bereich.
The present research constructed a complexity scale of color combinations and examined whether the scale can account for aesthetic judgments. Twenty-eight Japanese undergraduate students rated 96 color combinations on scales of complexity, pleasantness, and interestingness. In two factors of composing color combinations, complexity was defined by both factors of the color relations (similarity or contrast between component colors) and of the number of colors. This confirms that the subjective complexity scale in color combinations is well explained by compositions of these two factors. Pleasantness showed a relationship with complexity suggestive of an inverted-U function in mean ratings; however, the relationship between interestingness and complexity was linear. These relations suggest that the complexity scale is closely related to the aesthetic judgments.
Modern technology has allowed a change in the conception as well as in the use of light in pictorial art. In contrast to traditional modes of static light reflection, the images in the Lumia genre of kinetic art are back-projected onto a translucent screen, change color and may be in motion. The psychophysics underlying the medium and the aesthetics appropriate to it have been studied but little. The author first reviews the physical bases and technological advances that have made Lumia kinetic art possible. Secondly, he initiates a consideration of the aesthetics of color as perceived on a screen of Lumia by examining, in a series of empirical investigations, the hedonics of such color. These results are then analyzed in the context of an aesthetical doctrine known as 'aesthetics from below'.
This article explores the genesis of the apparently disparate fields of colour psychology, chromotherapy, and colour forecasting. They came to the fore during the 20th century, and while ostensibly unrelated, their common ancestry lies in the late 18th and 19th centuries. This period witnessed the discovery of such strange forces as magnetism, electricity, X-rays, and radio waves—in addition to odic forces and the colour aura. These were all invisible, mysterious, and to the public and many prominent scientists, equally plausible. This article traces a major influence back to spiritualism and Theosophy: both privileged colour and attributed powerful influences to it. This legacy remains, though not in the scientific domain. © 2013 Wiley Periodicals, Inc. Col Res Appl, 2013
Some color characteristics of ceramic glazes that are important in industrial design and specification are described in terms of the fundamental parameters of colorimetry. Algebraic expressions are developed to relate the spectral reflectance of a specularly transmitting glaze on an opaque bisque with the glaze thickness, interfacial reflectance, absorption coefficient, and colorant concentration. These expressions are shown to describe accurately the spectral reflectance of some test tile. Changes in dominant wave length, purity, and luminous reflectance are considered with glaze thickness as the independent variable. The dichroic effect associated with glaze-thickness difference in a purple tile is illustrated. A relationship between glaze-thickness difference and allowable color tolerance is outlined.
The final colour of a product on sale to the consumer is the end result of a complex interaction of knowledge, guesswork, practical constraint, and marketing skill [1]. Once the final colour is chosen, most of the problems associated with delivering the colour selected, under precise colour definition and control, at a reasonable cost, have been solved. Technical colour management is well served by accurate measurement and colour manipulation tools, and is founded on tried and tested science. By contrast, those managers whose responsibility it is to deliver successful colour selection, cannot appeal to much more than general principles, the dictates of fashion and intuition: they have very few tools and measurement techniques to assist them. Colour influences all aspects of our lives, from the clothes we wear and the food we eat to the environment in which we work [2]. The colour of an item of apparel worn by someone has an impact on how they are perceived by others and how they perceive themselves. This means that consumers are extremely sensitive to colour when choosing apparel goods. The rapid development of computers and information processing technology offers the prospect of bringing together hitherto fragmentary knowledge and precision colour technology in a concerted effort to improve the process of optimising product colour. The following sections represent an overview of the research effort in this field, highlighting advances in consumer research, colour definition and communication.
In 1956 we came to the decision at the Budapest Technical University to start large scale experiments on color harmony. The experiments and the processing of the experimental results have been completed in 2006, after 50 years of research work. Within the frame of the experiments 95 000 participants have carried out more than 36 million elementary observations and made elementary decisions. Only certain parts of the experimental results have been published up to now. This article starts publishing the results not published yet. Research work on color harmony carried out during these 50 years can be categorized into seven main groups. The present article deals with the group of experiments testing how much the harmony content of the scales found in different locations in various positions of the axial sections of the Coloroid color system differ from each other. Our experiments were focused to three groups: we examined the variations in the extent of harmony content in the following cases (1) scales carried by lines with different angles to the gray axis, consisting of colors having the same number of harmony intervals between them, (2) scales consisting of colors being parallel to the gray axis, featuring various saturations, having different harmony intervals between them, and (3) scales perpendicular to the gray axis, with different luminosity, having different harmony intervals between each other. The examined color scales contained six colors in each experiment. Experiments were carried out for 24 different axial sections of the Coloroid color system. After 15-years interruption experiments were repeated; however, with compositions of different appearances. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 477–488, 2007
A circular ordering of eight primary emotional categories was derived from the postulated underlying dimensions of hedonic and autonomic arousal. The model was contrasted with other approaches in the literature and then compared with a similar model proposed by Plutchik (1980) in postdicting the pattern of results in several studies in the literature. The results of two empirical studies based upon the present model were then presented. It was concluded that sufficient empirical support and advantage, compared with other models, was found to warrant further research.
Several experiments and reanalyses of archival data were performed in which sets of common emotions were mapped onto visual and auditory perceptual stimuli of varying degrees of complexity. Subjects showed reliability across several different experimental paradigms and diverse stimulus sets. Furthermore, the results were reducible to a two-dimensional emotion space of valence and activity, after the work of Osgood, Succi, and Tannenbaum (1957). The perceptual locus of an aesthetic stimulus in this two-dimensional space is hypothesized to provide a first approximation to how the synesthetic qualities of a percept provide a basis for emotional responses to such stimuli. More generally, this direct mapping of percept onto emotion provides an interesting conundrum for theories of emotion research.
This investigation, based on empirical research, examined the role of complexity and order in the aesthetic experience of architectural forms. The basic assumption of this study was that perception in architectural form is a process of interpreting a pattern in a reductive way. Thus, perceptual arousal is not determined by the absolute complexity of a configuration. Rather, the actual perceived complexity is a function of the organization of the system (order). In addition, complexity and order were defined and categorized into four variables according to their significant characteristics; simple order, complex order, random complexity, and lawful complexity. The series of experiments confirmed that there is a point on the psychological complexity dimension which is optimal. By demonstrating that consensual and individual aesthetic preference can be measured to have a unimodal function of relationship with complexity, the results of the experiments indicated that complexity and orderliness are effective design factors for enhancing aesthetics of a building facade. This investigation offered a conceptual framework that relates the physical (architectural form) and psychological factors (complexity and order) operating in the aesthetic experience of building facades.
This chapter surveys behavioral data on the early ontogeny of chromatic vision and information processing in man. Because detailed pattern perception and color vision are mutually segregated to central vision and because visual patterns can be differentiated or resolved either by brightness or hue, a major question motivating developmentalists has been, “Do infants see color?” Most early investigations of the development of color vision constituted essentially color preference studies with brightness or other variables uncontrolled. Simple color preference studies fell far short of describing or evaluating the basic sensory or perceptual functions characteristic of early perceptual development. Recent anatomical, electrophysiological, and behavioral observations indicate, however, that central vision in infants and young children is primary and that photopic vision in man is functional near the beginning of extrauterine life. Moreover, contemporary investigators have adapted psychophysical techniques and controls to the study of the development of chromatic vision with manifest success.
Two experiments investigated visual attention in human infants. In one experiment, babies looked longer at more than at less saturated colors. In a second experiment, babies looked longer at gratings aligned along the horizontal and vertical orthogonals than along the obliques. Because saturated colors and orthogonal stimulation elicit greater activity in visual system neurons and greater amplitude evoked potentials than desaturated colors or oblique stimulation, these two experiments support the hypothesis that the simple visual stimuli to which infants preferably attend are those that are particularly appropriate in stimulating the geniculostriate or primary visual system. The ethological significance of this taxic mechanism and its utility and function in perception, cognition, and aesthetics are underscored.
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