Associations between color and shape in Japanese observers.

Chen, Na; Matsuyoshi, Daisuke; Watanabe, Katsumi

doi:10.1037/a0038056

Cited by 32 publications

(104 citation statements)

References 45 publications

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“…Finally, it would be interesting to repeat the experiment in other contexts and with different people. For that matter, a recent experiment conducted in Japan (Chen et al, 2013), which used the design of our previous research on the association between shapes and colours (Albertazzi et al, 2013), has obtained similar results.…”

Section: Discussionmentioning

confidence: 62%

The Hue of Angles — Was Kandinsky Right?

et al. 2015

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This article presents an experimental study on the natural association between angles and colour. Specifically, for each angle width -formed by two segments joined at their vertex -studied, participants were asked to indicate the colour that they perceived as most closely related to it, choosing from the NCS Hue Circle. The results show that participants systematically established a natural and consistent association between certain angles and colours, when explicitly asked to choose the colour that they perceived as most naturally related to a given angle presented as two lines. The overall results suggest an association between acute angles and warm colours and obtuse angles and cool colours, confirming Kandinsky's hypothesis. In particular, the strongest relations were found between the angle of 22.5°and yellows, the angles of 45°, 90°and 135°and green-yellows, and the angle of 157.5°and red-blues, when angles were presented on a white background.

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Section: Discussionmentioning

confidence: 62%

The Hue of Angles — Was Kandinsky Right?

et al. 2015

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“…A number of studies have empirically examined the color‐form assignment proposed by Kandinsky using a direct matching or implicit test such as IAT, and their results are summarized in Table . Although there are some exceptions, a triangle tended to be associated with yellow by Italian and Japanese people and by art experts in the study of Jacobsen and Wolsdorff . This association was also observed in this study.…”

Section: Discussionmentioning

confidence: 96%

“…6 Chen et al also reported evidence that warmnesscoolness mediated color-shape associations in Japanese people, though they also acknowledged that world-knowledge associations also affect their results. 7 Malfatti et al also reported that emotions, especially anger and sadness/happiness, can explain color-shape associations. 15 However, this study did not find any particular emotional dimensions mediating the color-form associations.…”

Section: Discussionmentioning

confidence: 97%

“…Albertazzi et al claimed based on the experimental results of Italian participants that color‐shape associations are mediated by the feeling of warmness and lightness evoked by colors and shapes . Chen et al also reported evidence that warmness‐coolness mediated color‐shape associations in Japanese people, though they also acknowledged that world‐knowledge associations also affect their results . Malfatti et al also reported that emotions, especially anger and sadness/happiness, can explain color‐shape associations .…”

Section: Discussionmentioning

confidence: 99%

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Associations of visual forms with colors: The minor role of emotion as the mediator

Hanada

2019

Color Research & Application

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Associations of colors with a wide variety of visual forms were examined. Fifty visual forms were presented to Japanese participants, who were asked to report a color suitable to each visual form out of 15 colors. Correspondence analysis was applied to the responses, and four dimensions of configurations were obtained. The first and second dimensions were related to chromaticity or hue. In these dimensions, red and orange were associated with round symmetric shapes, yellow with shapes with sharp corners, violet and purple with irregular shapes with smooth curves, and cold colors such as blue and green with forms that consisted of simple geometrical elements such as triangles, squares, and circles. The third dimension was related to L* and b* in the CIELAB color space and to the stability of visual forms. Dimension 4 was not significantly related to any of L*, a*, and b*. In another experiment, participants rated the affective impressions of the colors and visual forms on semantic differential (SD) scales. The analyses of the SD data combined with the results of the color‐form associations suggest that the role of emotional meanings of colors and visual forms in mediating the associations was rather minor, and that world‐knowledge contributed considerably to the observed color‐form associations. Kandinsky's color‐form assignment was also examined, and except for the yellow‐triangle association, the assignment was not supported.

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“…La repercusión de estos trabajos en el ámbito de la Academia -en cuanto al estudio de estas correlaciones entre alumnado educado en teoría del diseño y aquellos que no lo están, ha hecho que se lleven a cabo diversas réplicas de los mismos (Kharkhurin, 2012; Holmes y Zanker, 2013; Makin y Wuerger, 2013, Brooks, 2016; Walter 2018) e, incluso, en ámbitos con una tradición visual no occidental, como el desarrollado en Japón y China por Chen et al (2015a;2015b;2016, 2019.…”

Section: El Cuestionario De Kansdinsky Desde La Actualidadunclassified

Sobre la correlación de la forma y el color. Aplicación del cuestionario de Kandinsky (1923) a estudiantes universitarios de comunicación

García-Ramos

Gómez

2019

Pensar Public.

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Más de cien años después de la publicación de De lo espiritual en el arte y justo en el primer centenario de la Bauhaus, este estudio recupera el cuestionario sobre las correspondencias forma-color de Vasili Kandinsky para aplicarlo a estudiantes universitarios en los tres grados en el área de comunicación de la Facultad de Ciencias de la información de la Universidad Complutense de Madrid durante el curso 2018-2019. Un alumnado sensible al desarrollo de las ideas estéticas y a la cultura visual pero sin una formación específica en teoría del color. Para ello se adaptó el cuestionario de Kandinsky de 1923 a soporte digital y se contó con una muestra de 357 personas en total. El resultado de este estudio, en línea con otras experiencias similares previas, ofrece unas correspondencias que difieren de manera significativa con las de Kandinsky. En este sentido, los resultados muestran unas correspondencias más influidas por la iconosfera de nuestra actual cultura visual que por una educación artística específica o un conocimiento profundo sobre teoría del color o historia del diseño.

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Associations between color and shape in Japanese observers.

Cited by 32 publications

References 45 publications

The Hue of Angles — Was Kandinsky Right?

The Hue of Angles — Was Kandinsky Right?

Associations of visual forms with colors: The minor role of emotion as the mediator

Sobre la correlación de la forma y el color. Aplicación del cuestionario de Kandinsky (1923) a estudiantes universitarios de comunicación

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