Universal models of colour emotion and colour harmony

Ou, Li‐Chen; Yuan, Yinqiu; Satô, Tetsuya; Szabó, Ferenc; Sueeprasan, Suchitra; Huertas, Rafael

doi:10.1002/col.22243

Cited by 51 publications

(78 citation statements)

References 48 publications

(152 reference statements)

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“…As mentioned above, the color‐combination rules similar to the hue, similar chroma, and contrast lightness components of human‐preferred Papilionidae butterflies agree partly with the results of psychological and experimental studies . In the present study, images of Papilionidae species that are specifically preferred by humans were selected (see Section 2.1).…”

Section: Discussionsupporting

confidence: 84%

“…Therefore, we believe that these five principles are considerably available and flexible. All of Ou and Luo's principles except for “hue preference” agree with the four principles identified by Szabo, viz., “similar hues,” “small chroma differences,” “lightness difference,” and “higher lightness sum.” Recently, in terms of Szabo's four principles, Ou et al proposed universal color harmony models based on psychophysical data collected from around the world and obtained satisfactory predictive performance using them . Thus, these four principles have been shown to be robust.…”

Section: Discussionmentioning

confidence: 99%

“…Ou et al summarized conventional and empirical color harmony theories into four main principles: complementary hue, equal hue, equal chroma, and equal lightness . In terms of experimental psychology, several studies have obtained four common principles of color harmony: equal hue, equal chroma, unequal lightness, and high lightness . Some results of these empirical theories and experimental studies correspond (ie, equal hue and equal chroma) and others do not.…”

Section: Introductionmentioning

confidence: 99%

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Computational color combination analysis of Papilionidae butterflies as aesthetic objects

Kakehashi

Muramatsu

Hibino

2019

Color Research & Application

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In this study, our aim is to clarify the color combination rules of the human‐preferred Papilionidae butterflies as aesthetic objects. A set of 118 butterfly images, including color polyphenism from the 47 Papilionidae species that are generally preferred by humans, was selected. These images were classified using hierarchical cluster analysis based on similarities of lightness, chroma, and hue attributes in CIELAB space, determined using histogram intersection. Then, the color distributions and combinations in each cluster were analyzed using a Gaussian mixture model and the color combination types defined in the present study. Accordingly, we obtained the following main color combination rules of human‐preferred Papilionidae: (a) dominant low lightness and contrasting lightness components, (b) dominant low chroma and similar chroma components, and (c) dominant orange to yellow‐green hue and similar hue components. These rules partly agree with the robust harmony principles found in previous research. We infer that the cognitive effects concerning the processing fluency through these color combination rules influence human aesthetic responses.

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Section: Discussionsupporting

confidence: 84%

Section: Discussionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Computational color combination analysis of Papilionidae butterflies as aesthetic objects

Kakehashi

Muramatsu

Hibino

2019

Color Research & Application

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“…Thus, the associations of colors with visual forms and concepts seem to be substantially dependent on culture. On the other hand, studies of the emotional associations of colors using the SD technique suggest that although there are some culturally idiosyncratic emotional connotations of colors, the overall patterns of color emotions are very similar across many cultures . The associations of colors with emotions seem to be more universal across cultural backgrounds than those with concepts and visual forms.…”

Section: Discussionmentioning

confidence: 99%

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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“…Ou et al . collected experimental data from 12 countries to develop a universal colour harmony model through four colour harmony principles, namely, similarity hue principle, similarity chroma principle, lightness difference principle and high‐lightness principle (Eqn 7). From Eqn 7, it can be seen that hue difference, chroma difference, lightness difference and lightness sum cooperation are the parameters used to construct the model.…”

Section: Literature Reviewmentioning

confidence: 99%

Colour harmony of two‐colour combinations using a 3D colour configuration

Gong

2019

Coloration Technology

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Over the past few years, although many studies have investigated colour harmony, most of those used the planar colour configuration, which is not in line with the design requirements of real‐life products. Therefore, this study used 11 basic colours and five types of colour scheme techniques to derive 141 colour combinations applied upon a physical 3D colour configuration to observe the phenomena of colour harmony. The results show that colour harmony on a 3D colour configuration is different from that on a planar colour configuration, and can be divided into four phenomena: (i) lightness difference was found to determine the colour harmony while achromatic colour was configured with achromatic colour; (ii) lightness sum prompted colour harmony while chromatic colour was configured with achromatic colour; (iii) lightness sum and chroma sum were found to determine colour harmony while chromatic colour was configured with chromatic colour with a two‐colour hue angle difference >90°; and (iv) lightness sum and hue difference were a determination of colour harmony while chromatic colour was configured with chromatic colour with a two‐colour hue angle difference of ≤90°. On the basis of these phenomena, this study develops a colour harmony model based on the colour parameters, most of which are derived from the addition of the colour attributes of two colours.

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Universal models of colour emotion and colour harmony

Cited by 51 publications

References 48 publications

Computational color combination analysis of Papilionidae butterflies as aesthetic objects

Computational color combination analysis of Papilionidae butterflies as aesthetic objects

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

Colour harmony of two‐colour combinations using a 3D colour configuration

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