A study of colour emotion and colour preference. Part I: Colour emotions for single colours

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 study of colour emotion and colour preference. Part II: Colour emotions for two‐colour combinations

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 study of colour emotion and colour preference. Part III: Colour preference modeling

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     

Colour meaning and context

This study compares semantic ratings of colour samples (chips) with those of the same colours applied to a variety of objects. In total, 25 participants took part in the colour‐meaning experiment, and assessed 54 images using five semantic scales. In Experiment 1, simplified images (coloured silhouettes) were used whereas in Experiment 2 real images were used. In this article, the terms “chip meaning” and “context meaning” are used for convenience. Chip meaning refers to the associated meanings when only isolated colour chips were evaluated while context meaning refers to colour meanings evaluated when colours were applied to a variety of product categories. Analyses were performed on the data for the two experiments individually. The results of Experiment 1 show relatively few significant differences (28%) between chip meaning and context meaning. However, differences were found for a number of colours, objects, and semantic scales i.e., red and black; hand wash and medicine; and masculine‐feminine and elegant‐vulgar. The results of Experiment 2 show more significant differences (43%) between chip meaning and context meaning. In summary, the context sometimes affects the colour meaning; however, the degree to which colour meanings are invariant to context is perhaps slightly surprising. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 450–459, 2017     

Colour meaning and consumer expectations

Deciding a colour for a product is a significant task for designers to attract consumer attention and communicate brand messages. It requires an initial analysis that explores consumer expectations within the sector, and this information is then used to inform development of a product design. This article discusses the application of the product colour development process during the initial phase of product design. Using a case study approach, one particular product category—a dishwashing liquid product was selected based on the suggestion from a leading U.K. consumer goods manufacturing company that colour is a major design factor for this product category. In the first phase of the study, interviews and an online survey were carried out with consumers (to explore what elements are important when they purchase a washing‐up liquid product). In the second phase of the study, a colour meaning experiment was conducted to explore possible colours for dishwashing liquid packaging using a semantic differential method. The results show that yellowish and bluish green colours evoke positive responses while saturated and dark green colours are perceived more negatively.     

Colour semantics in residential interior architecture on different interior types

Colour meaning is a challenging decision in interior architecture during the design process; however, specific meanings within different interior types have not yet been investigated. This study explored colour meaning in the context of residential interior types (eg, bedroom) under controlled conditions using 42 Munsell colours varying in hues, value, and chroma levels, with 14 adjectives (eg, comfortable, pleasant). The results demonstrate that some colours convey the same meanings (eg, vulgar) regardless of type of room; however, others (eg, beautiful) tend to require more complicated and sophisticated colour applications in different residential interiors. The study findings proved that colour meaning in RITs can be affected by all colour attributes. All colours that are named orange and red are selected for both negative and positive meanings. Colours that are named purple are selected less and only for negative connotations. The findings present an overall colour meaning guide for these residential interior types, which will be beneficial for decision makers (interior architects, designers, users) and colour researchers.     

Colour research with architectural relevance: How can different approaches gain from each other?

Colour research from different scientific traditions start from different basic questions and use different methods and concepts. This makes it difficult to communicate and to judge result relevance in a wider perspective. Here we start from architects' need of colour knowledge and discuss recent studies of colour appearance and colour emotion, with and without explicit connection to architecture. We stress the need for further development and clarification of concepts and conclude that the multitude of studies with different approaches can be seen as cases, jointly adding to a widened and deepened understanding of colour. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010     

Colour harmony revisited

A plethora of theories and studies exist that focus on the relationship between colour and esthetic response as well as the construction of colour harmony. However, consensus regarding colour harmony is lacking in the literature leaving designers and architects with colour harmony information that is contradictory and ambiguous. This article examines both early and more recent theories and definitions of colour harmony. The diverse theoretical paradigms and disparate assumptions embedded within these theories are discussed in some depth, and the validity and veracity of predictive colour harmony theories are discussed from a current theoretical perspective. An updated definition of colour harmony is providedalong with a conceptual model that represents an attempt to revise colour harmony in line with current theoretical paradigms. This conceptual model acknowledges that the interface between colour and esthetic response is less deterministic and predictable, and more idiographic than previous theories allow. In addition, the conceptual model suggests that colour harmony is contingent on factors that may influence the relationship between colour and esthetic response such as individual and cultural differences as well as perceptual, contextual, and temporal factors. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010     

Colour and tolerance of preferred skin colours on digital photographic images

Skin‐tone has been an active research subject in photographic colour reproduction. There is a consistent conclusion that preferred skin colours are different from actual skin colours. However, preferred skin colours found from different studies are somewhat different. To have a solid understanding of skin colour preference of digital photographic images, psychophysical experiments were conducted to determine a preferred skin colour region and to study inter‐observer variation and tolerance of preferred skin colours. In the first experiment, a preferred skin colour region is searched on the entire skin colour region. A set of nine predetermined colour centers uniformly sampled within the skin colour ellipse in CIELAB a*b* diagram is used to morph skin colours of test images. Preferred skin colour centers are found through the experiment. In a second experiment, a twice denser sampling of nine skin colour centers around the preferred skin colour center determined in the first experiment are generated to repeat the experiment using a different set of test images and judged by a different panel of observers. The results from both experiments are compared and final preferred skin colour centers are obtained. Variations and hue and chroma tolerances of the observer skin colour preference are also analysed. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2013     

调色系统中调色配方的设计方法及调色注意事项

从色浆体系的选择、基础漆种类的确定到颜色配方设计来说明在应用调色系统时调色配方的设计制作方法,同时总结出应用调色系统进行配色的相关注意事项。     

Seasonal and emotional associations of the colours and their effects on directing the Turkish fashion

This article suggests a potential scientific approach in finding colour effects on human emotions and seasonal associations. A visual assessment of the colour samples was carried out with the help of Turkish observers in Denizli, Turkey. From the study, it was found that Turkish four season colours of spring, summer, autumn and winter were bright green, vivid yellow, dull yellow and dark grayish brown respectively. Moreover, the colour data were arranged in terms of gender and age of the observers. In this analysis, it was observed that the colour preferences changed according to the gender and age of the observers. For instance, the top spring colour preference of young ladies were vivid bluish green, light blue and bright purple, on the other hand the top spring colour preference of adult ladies was light yellow green and the top spring colour preference of young and adult men was bright green. In the study, the observers were also asked about elicited emotional associations of the main colours on their mind and the data were collected in a table. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 523–529, 2016     

Colour displays for categorical images

We propose a method for identifying a set of colours for displaying 2D and 3D categorical images when the categories are unordered labels. The principle is to find maximally distinct sets of colours. We either generate colours sequentially, to maximize the dissimilarity or distance between a new colour and the set of colours already chosen, or use a simulated annealing algorithm to find a set of colours of specified size. In both cases, we use a Euclidean metric on the perceptual colour space, CIELAB, to specify distances. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 304–309, 2007     

Colour size effect modelling

The visual phenomenon known as the colour size effect was investigated and two models were developed to predict the change in colour appearance of samples with six different sizes. The models are capable of transforming the colour appearance of a stimulus having a viewing field of 2° to that associated with a range of viewing fields. They are named the size effect correction and the size effect transform and are based on human perceptual attributes and human cone responses, respectively. The performance of both models was tested using the experimental data, and the results showed that the size effect transform performed better than the size effect correction. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2012     

Colour correctability of a colour-matching recipe

The colour of a test dyeing/batch is frequently too far from the target colour to be accepted and some correction to the component concentrations in the recipe is needed. Therefore, it would be useful for a colourist, already at the time of match prediction, to have some a priori information about the possibility of correcting the colour of a particular recipe. In this article, the definitions of directional and overall colour correctability are introduced and the way to calculate their numerical estimates is developed. These values enable the comparison of the colour correctability of various different recipes for the same target colour in advance. In addition, the link between the colour sensitivity and the colour correctability of a recipe is discussed. A numerical example is provided for illustration. © 1997 John Wiley & Sons, Inc. Col Res Appl, 22, 88–95, 1997     

彩妆市场发展概况

彩妆市场持续在全球繁荣,该行业发展势头强劲,新兴地区对唇彩产品和成熟地区对新一代多功能产品增长的需求正在推动着彩妆市场的发展。同时,介绍了未来彩妆市场发展的趋势。     

Request for existing experimental datasets on colour emotion and colour harmony

The Technical Committee 1‐86 of the International Commission on Illumination on “Models of colour emotion and harmony” is requesting the submission of datasets for use in developing new models of colour emotion and colour harmony. The data should be submitted to the TC Chair, Dr. Li‐Chen Ou at the National Taiwan University of Science and Technology. © 2012 Wiley Periodicals, Inc. Col Res Appl, 2012     

色母粒的生产和应用现状

色母粒根据用途、功能、载体等的不同划分为不同的种类,各品种又划分为不同的等级.色母粒的生产有干法工艺和湿法工艺,湿法工艺包括油墨法、冲洗法、捏和法和金属皂法.介绍了色母粒在塑料、橡胶和合成纤维中的应用、发展状况.     

双组份聚氨酯涂料的色泽和光泽

为缩短检验时间，采用强制干燥方法制备样板，对需要常温自干漆膜的光泽和色泽进行测定。     

尼龙66地毯纱间隔染色色差的成因和预防措施

详细分析了尼龙66地毯纱间隔染色色差的成因,认为纱线的质量、纱线的张力均匀性控制、设备的运行状况及染色工艺控制是关键的因素,并从设备、操作、纱线张力和染色等方面提出了具体防止色差产生的措施。     

Colour in urban places: A case study of Leicester City Football Club blue

By communicating an integrated story, the Leicester City Football Club blue inherits and persists the history and legacy of the football club, which further provides a stable and consistent meaning for the local sports culture. Colour as a medium and agency creates an intimacy and loyalty between the different ethnic and social groups across local, regional, and global contexts. The case study demonstrated that colour could give place identity through branding practice, identity mediation, and visual culture formation. The process reflected that economic and cultural force had a large impact on place‐making, and could be the decisive influence upon colour symbolism.