Color and semiotics: A two‐way street

Caivano, José Luis

doi:10.1002/(sici)1520-6378(199812)23:6<390::aid-col7>3.0.co;2-#

Cited by 54 publications

(39 citation statements)

References 14 publications

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“…It is likely that such colours emotions are triggered by learned associations or shaped by nature although the effect of light on the nonimaging‐forming pathways of the human visual systems as a contributing cause cannot be ruled out . It has been noted that people associate blue with calming, depressing, peaceful, quiet, serious, and nostalgic; associate yellow with serene, happy and softly exciting, or warm and sunny; associate green with envy, red with passion, black with death, yellow with cowardice, blue with loyalty . Cherry has explored the link between colour and mood .…”

Section: Introductionmentioning

confidence: 99%

A method for exploring word‐colour associations

Chen

Yang

Pan

et al. 2019

Color Research & Application

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Strong associations exist between colours and concepts or words. Understanding these associations, sometimes referred to as colour emotions, is important for effective use of colour in art and design. Traditionally the relationships have been systematically explored in experiments where participants scale colours according to bipolar adjectives such as warm‐cool. In this article, a method for exploring the relationships between words and colours is suggested and is demonstrated. A psychophysical experiment is described where participants select colours based on words. The data are used to show that many similarities between the word‐colour relationships for UK and Chinese participants although some interesting differences are also revealed. The method makes explicit the observation that there is not a one‐to‐one relationship between words and colours. The method could be used to explore word‐colour relationship for specific words and participant groups or could be used to generate ground‐truth data for testing methods for automatically generating the word‐colour relationships.

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Section: Introductionmentioning

confidence: 99%

A method for exploring word‐colour associations

Chen

Yang

Pan

et al. 2019

Color Research & Application

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“…Previous research found that removing colour hues from packaging reduced the appeal and positive connotations of tobacco brands. However, colour psychologists suggest that the same important role in communication is played by colour regardless of whether actual colour hues or the corresponding words are used . In this regard the potential impact of plain packaging appears to have been offset by the addition of colour names.…”

Section: Discussionmentioning

confidence: 99%

The Australian experience following plain packaging: the impact on tobacco branding

Greenland

2016

Addiction

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New brands and variants were not inhibited by the introduction of plain packaging in Australia. After plain packaging, leading brand variant numbers expanded by 9 to 116 and colour variant names increased by 73.6% and became the norm-lighter colours (blue, gold and silver) dominated, perpetuating notions of less harmful cigarettes. [Correction added on 09 September 2016, after first online publication: The figures in the last sentence of the Abstract are now corrected from 'expanded by 116' to 'expanded by 9 to 116'.].

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“…Pertinent to color meaning, Deribere in Caivano (1998) states that meanings are often assigned to colors independently of the object in which the color is seen. An example of this is the colors of green meaning safety, red meaning danger, and yellow means be careful, which have the same meaning in traffic lights.…”

Section: Ebegmentioning

confidence: 99%

Identity Exhibition in Batik Motifs of Ebeg and Pataruman

et al. 2019

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As an intangible cultural heritage acknowledged by UNESCO on October 2, 2009, batik has to be preserved as well as developed in Indonesia. Consequently, most cities in Indonesia have designed their batik motifs exhibiting their identities with cultural and natural excellence. This article discusses how Banjar City in West Java, Indonesia, is exhibiting its identity through batik motifs of Ebeg and Pataruman. Ebeg motif is derived from Ebeg dance, a traditional dance popular in the east border of West Java, posing transcendental values with specific rituals before the performance. The other motif, Pataruman, is derived from tarum plants whose leaves serve as natural indigo color. Being the iconic motifs of Banjar batik, the Ebeg motif exhibits the identity of Banjar as a city of religious people believing in the almighty power as well as acknowledging different human powers. As exhibited by the tarum plant, the motif Pataruman denotes the identity of Banjar city as a city prepared to provide other regions with mutual benefits.

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Color and semiotics: A two‐way street

Cited by 54 publications

References 14 publications

A method for exploring word‐colour associations

A method for exploring word‐colour associations

The Australian experience following plain packaging: the impact on tobacco branding

Identity Exhibition in Batik Motifs of Ebeg and Pataruman

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