Cross-cultural variation of color preferences

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

Color Research and Application, 2012

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

Color Research and Application, 2007

This study investigates the relationship between color perceptual attributes and color emotions, as well as the influence of different cultural backgrounds. Totally 214 color samples were evaluated on 12 emotion variables by subjects from seven different region groups in the psychophysical experiment. By factor analysis, it was found that three factors were sufficient to represent 80 “region-emotion” variables. For each variable, there is no distinct difference among different region groups. The 12 emotion variables could be divided into four categories, namely, activity index, potency index, definition index, and temperature index. Factor scores were further calculated to study the determinants on each factor. The analysis showed that the three factors were mainly related to chroma, lightness, and hue, respectively. It was concluded that chroma and lightness were the most important factors on color emotion, whereas the influences of hue and cultural background were very limited. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 223–229, 2007

DergiPark (Istanbul University), 2022

Numerous studies have shown that colors have various psychological impacts, and these effects may be used in a variety of contexts. Colors can create change in our emotional states. Being under the influence of colors can cause sudden changes in mood. In particular, some colors show both positive and negative effects on the user. Associated with the help of this study, the emotions that colors create in people from design elements have been determined and it is aimed to ensure that colors can be used in accordance with the purpose of design. For this, 20 different colors and 26 positive and negative emotions were determined within the scope of the study in order to specify the emotions these colors create in people. In order to determine the effect of age and gender on preference in matching colors with emotions, a survey was conducted on a total of 320 people from different age groups and genders. As a result of the study, it has been revealed which colors or color groups can be used to create which feelings in the design. Thus, it has been shown how colors can be used in determining the space designs according to the effect of colors on people and in realizing the design in accordance with the purpose.

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...

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

Pegem Journal of Education and Instruction, 2019

In this study, the conceptual associations of colors in preschool children were examined with an interdisciplinary perspective. Designed as a preliminary review, this study provides insights and suggestions about how conceptual associations of colors can be used for developing products and services for kids and improving the effectiveness of learning activities in education. This study was designed as descriptive survey because it describes an existing situation. This research's working group was chosen through a purposive sampling method. The study also includes interpreted components. Two-stage interviews were made with 204 children aged between 60 and 72 months in preschool education in Ankara with active participation of their form teachers, and the data were collected using the context analysis technique. The study found that children show dominant preference for certain colors in connection with certain concepts and they made consistent spectrum preference for certain concepts. These preferences indicate that the children aged between 60 and 72 months are able to make associations between concepts and colors and attribute meanings to colors in the background, with important hints for the use of colors in designing products and planning learning activities for children.

Journal of Fine and Studio Art, 2018

The study focuses on the psychological theory of colour in graphic design on the advertisement of consumer goods. The specific objectives identify the impact of colour perception and emotion as it psychologically affects and influences the behaviour of consumers in purchasing the products advertised. Descriptive research study, that is, employing qualitative methodology was used to address the study and it adopted survey design method to investigate the activities of the respondents (the consumers) that emotion and colour have impacts on their purchasing behaviour. The population for consumers is infinite and outside the limit of manageable size. Yamane"s formula which stated that a finite population consists of a fixed number of elements that can be easily counted, while an infinite population on the other hand is where a complete count of all element or subject that makes up the population cannot possibly be counted was therefore adopted to determine the sample size of three hundred and eighty-five (385). Random sampling method was used in administration of the questionnaire and structured questionnaire was used to collect demographic information about the respondents and elicited responses from the respondents on issues raised in research questions and the objectives of the research. Frequency and percentage distribution were used to analyse the background information of the respondents and some of the issues addressed in the questionnaire. The result of the analysis established that colour value and emotional theory stimulate and energize consumers, and that it creates acceptance, admiration, affection and psychologically served as powerful market tools. A consumer Colour Perception Purchasing Behaviour Model was proposed based on the result.

Color Research & Application, 2017

Color in urban design has become an important issue, each city may present different colors which help to define and describe its architectural features. In the study, color in urban design with architectural setting is studied, façade colors are analyzed with a specific emphasis on the following research questions; “Can color schemes be designed in respect to color‐emotion associations?” and “Are color‐emotion associations affective while designing architectural setting‐urban environment?.” Non‐color experts, 170 people, from different European and non‐European countries were asked to match the most appropriate adjectives with the given street views in accordance to their color schemes. In the first step, the effect of color is identified in relation to architectural environment‐urban setting, second the relative effect of color is studied as a component of the material. A categorical specification on color cognition and linguistic level of representation is attempted. The results ...

International Journal of Research and Analytic Reviews, 2021

Born, live and die. Everybody has different cultures and cognitive backgrounds. Images what have seen from eyes has different meanings for eachothers. This is the process of life which is obtaining informations about built environment. Perception of environment changing for each person. That means understanding and solving in brains are different each other. Most researchers accepting this is pyshology. Observing of built environment, the main and important part is colors. Colors in built environment effecting people and their emotional world. That's why color choosing for built environment is very important and emotional process. In this article will be about the cognition, culture and colors which are effecting the life in daily.

Psychological Science, 2020

Many of us "see red," "feel blue," or "turn green with envy." Are such color-emotion associations fundamental to our shared cognitive architecture, or are they cultural creations learned through our languages and traditions? To answer these questions, we tested emotional associations of colors in 4,598 participants from 30 nations speaking 22 native languages. Participants associated 20 emotion concepts with 12 color terms. Pattern-similarity analyses revealed universal color-emotion associations (average similarity coefficient r = .88). However, local differences were also apparent. A machine-learning algorithm revealed that nation predicted color-emotion associations above and beyond those observed universally. Similarity was greater when nations were linguistically or geographically close. This study highlights robust universal color-emotion associations, further modulated by linguistic and geographic factors. These results pose further theoretical and empirical questions about the affective properties of color and may inform practice in applied domains, such as well-being and design.

UGC, 2022

Each colour has their symbolic meaning and each individual attach these colours with different meaning. The Gen Z is extremely aware about their surroundings and is progressive in nature. This study is a qualitative research work (experimental research design) and the study aims to understand the different view regarding the colour. The Munsell colour system is used in this study to identify the emotional influence of colour on Gen z. Munsell colour system five principal hues (i.e., red, yellow, green, blue, purple), five intermediate hues (i.e., yellow-red, green-yellow, blue-green, purple-blue, and red-purple), and three achromatic colours (white, grey, and black). The findings of the study reviled that majority of the Gen Z has positive attitude towards the colours. Colours and their emotions has a strong bond as well because majority of the respondents said red as anger and Love, Blue as calm, Green as nature, but the most favourite colour of the Gen Z is black which they consider as elegant and royal.

Tekstilec, 2016

Due to the complexity of colour perception and comprehension and its importance in contemporary life, there is an increasing need to understand the emotions which appear as our response to the observation of colour or coloured object. In the present research, the emotional response to colour was studied in a test group of Slovene female observers who were divided into four groups according to their age. The analysis was performed based on a questionnaire which included 21 colour samples of seven basic hues and diff erent lightness and/or saturation. The observers were asked to arrange the colours according to fi ve distinct pairs of characteristics: active-passive, like-dislike, warm-cold, stimulating-calm, modern-classical. The results showed that considerable diff erences exist regarding colour emotions, i.e. the emotional response to colour. The most pronounced contrasts between the women of diff erent age were found with respect to the attribute pair like-dislike. In most cases women preferred colours that were recognized as active; these colours were mostly saturated and very intense. However, the ranking and selection of the most popular colours were diff erent across age groups. In the group of female observers aged between 31 and 50 years, saturated colours were found to be less popular. The diff erences in the emotional experience were also observed with other attributes such as stimulating-calm and warm-cold. Regardless of the age, black was found to be a special case since it was described as a passive colour by the majority of women, in spite of being very popular.

Proceedings of the International Color Association (AIC) Conference 2019, 2019

The main goal of this study is to examine how colours with different hue, lightness and saturation are associated with the words feminine and masculine. The objectives of our investigation were threefold: (1) to reveal colour structure of both concepts in different cultures; (2) to visualize the obtained color associations and (3) to understand their cross-cultural similarities and differences. The experiment participants were given 26 words, including the words feminine and masculine, and asked to match each word to a sample from a chart with 27 selected colours from the NCS system. 754 subjects (470 females and 284 males) aged between 16 and 70 years (mean age 24.9) took part in the research in 9 countries.

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