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Journal articles on the topic 'Colour psychology'
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1
Day, Lin. "Psychology of colour." Early Years Educator 12, no. 5 (September 2010): 28–30. http://dx.doi.org/10.12968/eyed.2010.12.5.78341.
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Sorokowski, Piotr, and Magdalena Wrembel. "Color studies in applied psychology and social sciences: An overview." Polish Journal of Applied Psychology 12, no. 2 (June 1, 2014): 9–26. http://dx.doi.org/10.1515/pjap-2015-0006.
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Abstract Our article presents a comprehensive overview of studies on colour from the perspective of applied psychology and social sciences. It discusses major findings from the psychology of colour applied to marketing, business, politics and sports as well as to problems connected with using color tests in psychological diagnoses. Moreover, we present an overview of particularly interesting colour studies on synaesthesia related to cognitive and applied psychology as well as psycholinguistics. Finally, we discuss the most recent trends in investigations into applied colour psychology as well as potential directions for further research.
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Kumar, J. Suresh. "The Psychology of Colour Influences Consumers’ Buying Behaviour – A Diagnostic Study." Ushus - Journal of Business Management 16, no. 4 (October 1, 2017): 1–13. http://dx.doi.org/10.12725/ujbm.41.1.
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Colour plays an important role in marketing products. It is a powerful marketing tool that influences consumer purchases in many aspects. Marketers must explore the harmony of colours for successful marketing of products. Nearly all products sold today have colourful facades. Selecting the right colours to use has an enormous impact on product sales. While no single set of rules governs colour choices, research has established general guidelines based on the principle of associative learning, the relationship between colour and emotion. The researcher made a diagnostic study on the psychology of colour influences consumers buying behaviour. Secondary data has been extensively used in this research. Colour properties like hue, saturation and value, were discussed. Usage of colours in the packing of products, how colours earn brand image to a product, how colours help marketers to communicate the brand to customers and how to match colours with customer’s personality are extensively discussed. Conclusions were drawn based on this diagnostic study.
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O'Connor, Zena. "Colour psychology and colour therapy: Caveat emptor." Color Research & Application 36, no. 3 (April 11, 2011): 229–34. http://dx.doi.org/10.1002/col.20597.
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Crozier, W. R. "The psychology of colour preferences." Review of Progress in Coloration and Related Topics 26, no. 1 (October 23, 2008): 63–72. http://dx.doi.org/10.1111/j.1478-4408.1996.tb00111.x.
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Crozier, WR. "The psychology of colour preferences." Surface Coatings International 80, no. 12 (December 1997): 577–85. http://dx.doi.org/10.1007/bf02693850.
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Norwardatun Mohamed Razali. "The Significance of Warm Colour in the Quran and Its Roles on Memory Performance." Maʿālim al-Qurʾān wa al-Sunnah 16 (December 14, 2020): 1–15. http://dx.doi.org/10.33102/jmqs.v16i.240.
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Colours are mentioned many times in the Holy Qur’an. Some are mentioned as colours in general, and some of them in specific; yellow, white, black, red, green and blue. Each colour has its special connotations in the Holy Qur’an and among these colours, yellow and red are considered as warm colours. This study aimed to find the significance of warm colours in the Holy Qur’an and its relationship to human psychology; focusing on memory performance. This research had used an inductive approach in terms of selecting Quranic verses; in which yellow and red colour were mentioned. These verses were then analysed by referring to the books of exegetical considerations in order to know the implications of these colours’ usage, as well as referring to psychology books and scientific articles. The research found that yellow and red colour in the Holy Qur’an mostly indicate attracting attention or pleasing viewers. Some examples included the yellow colour in resemblance to the colour of the cow, attention to decay and destruction such as yellow colour in the withering plants, and attention to resurrection like the red colour resembling scene of the Day of Resurrection. This indication in the Holy Qur’an is consistent with psychologists’ discovery; warm colours such as red and yellow are more effective and attractive in the process of transferring information from external to sensory memory, and thus to short-term and long-term memory.
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Whitfield, T. W. Allan, and Jianne Whelton. "The arcane roots of colour psychology, chromotherapy, and colour forecasting." Color Research & Application 40, no. 1 (December 9, 2013): 99–106. http://dx.doi.org/10.1002/col.21862.
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Siuda-Krzywicka, Katarzyna, Christoph Witzel, Myriam Taga, Marine Delanoe, Laurent Cohen, and Paolo Bartolomeo. "When colours split from objects: The disconnection of colour perception from colour language and colour knowledge." Cognitive Neuropsychology 37, no. 5-6 (September 3, 2019): 325–39. http://dx.doi.org/10.1080/02643294.2019.1642861.
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Pitchford, Nicola J., and Kathy T. Mullen. "Is the Acquisition of Basic-Colour Terms in Young Children Constrained?" Perception 31, no. 11 (November 2002): 1349–70. http://dx.doi.org/10.1068/p3405.
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We investigated whether the learning of colour terms in childhood is constrained by a developmental order of acquisition as predicted by Berlin and Kay [1969 Basic Color Terms (Berkeley, CA: University of California Press)]. Forty-three children, aged between 2 and 5 years and grouped according to language ability, were given two tasks testing colour conceptualisation. Colour comprehension was assessed in a spoken-word-to-colour-matching task in which a target colour was presented in conjunction with two distractor colours. Colour naming was measured in an explicit naming task in which colours were presented individually for oral naming. Results showed that children's knowledge of basic-colour terms varied across tasks and language age, providing little support for a systematic developmental order. In addition, we found only limited support for an advantage for the conceptualisation of primary (red, green, blue, yellow, black, white) compared to non-primary colour terms across tasks and language age. Instead, our data suggest that children acquire reliable knowledge of nine basic colours within a 3-month period (35.6 to 39.5 months) after which there is a considerable lag of up to 9 months before accurate knowledge of the final two colours (brown and grey) is acquired. We propose that children acquire colour term knowledge in two distinct time frames that reflect the establishment of, first, the exterior (yellow, blue, black, green, white, pink, orange, red, and purple) and, second, the interior structure (brown and grey) of conceptual colour space. These results fail to provide significant support for the order predicted by Berlin and Kay, and suggest, instead, that the development of colour term knowledge is largely unconstrained.
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Johnson, Addie, Marieke Jepma, and Ritske De Jong. "Colours Sometimes Count: Awareness and Bidirectionality in Grapheme–Colour Synaesthesia." Quarterly Journal of Experimental Psychology 60, no. 10 (October 2007): 1406–22. http://dx.doi.org/10.1080/17470210601063597.
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Three experiments were conducted with 10 grapheme–colour synaesthetes and 10 matched controls to investigate (a) whether awareness of the inducer grapheme is necessary for synaesthetic colour induction and (b) whether grapheme–colour synaesthesia may be bidirectional in the sense that not only do graphemes induce colours, but that colours influence the processing of graphemes. Using attentional blink and Stroop paradigms with digit targets, we found that some synaesthetes did report “seeing” synaesthetic colours even when they were not able to report the inducing digit. Moreover, congruency effects (effects of matching the colour of digit presentation with the synaesthetic colour associated with that digit) suggested that grapheme–colour synaesthesia can be bidirectional, at least for some synaesthetes.
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Hussain, Ali Redha. "Colour Psychology in Art: <br/>How Colour Impacts Mood." Art and Design Review 09, no. 04 (2021): 301–8. http://dx.doi.org/10.4236/adr.2021.94025.
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Panasenko, N. "COLOUR TERMS IN SUDDEN FICTION." Philology at MGIMO 19, no. 3 (October 3, 2019): 131–38. http://dx.doi.org/10.24833/2410-2423-2019-3-19-131-138.
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The paper presents the analysis of colour perception and its interpretation in psychology and symbolism; it highlights colour properties and the approaches to colour studies largely in linguistics. One of the features of colours is their ability to express human emotions and feelings, either positive or negative (verbally/ nonverbally), and to create certain atmosphere in the situation abound in colours. Shades of colours can be regarded as a lexico-semantic group formed by adjectives and nouns, which can be simple, derived, and compound words. Short texts include many colour terms expressing such colour properties, as hue, saturation, tone, lightness, intensity; each of them contributes to decoding of some culture-specific features hidden in Sudden fiction. The analysis of Sudden fiction shows that short stories have specific composition, where colour terms perform different functions. Descriptive functions are mainly connected with focal colours and identify objects’ properties. Other functions, such as character-generating, associative, metaphoric, symbolic, semiotic, and culture specific are more complicated. Their identification implies additional knowledge of cultural, social, and historical planes.
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Barnett, Kylie J., Joanne Feeney, Michael Gormley, and Fiona N. Newell. "An exploratory study of linguistic–colour associations across languages in multilingual synaesthetes." Quarterly Journal of Experimental Psychology 62, no. 7 (July 2009): 1343–55. http://dx.doi.org/10.1080/17470210802483461.
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In one of the most common forms of synaesthesia, linguistic–colour synaesthesia, colour is induced by stimuli such as numbers, letters, days of the week, and months of the year. It is not clear, however, whether linguistic–colour synaesthesia is determined more by higher level semantic information—that is, word meaning—or by lower level grapheme or phoneme structure. To explore this issue, we tested whether colour is consistently induced by grapheme or phoneme form or word meaning in bilingual and trilingual linguistic–colour synaesthetes. We reasoned that if the induced colour was related to word meaning, rather than to the acoustic or visual properties of the words, then the induced colours would remain consistent across languages. We found that colours were not consistently related to word meaning across languages. Instead, induced colours were more related to form properties of the word across languages, particularly visual structure. However, the type of inducing stimulus influenced specific colour associations. For example, colours to months of the year were more consistent across languages than were colours to numbers or days of the week. Furthermore, the effect of inducing stimuli was also associated with the age of acquisition of additional languages. Our findings are discussed with reference to a critical period in language acquisition on synaesthesia.
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Mecklenbräuker, Silvia, Almut Hupbach, and Werner Wippich. "What colour is the car? Implicit memory for colour information in children." Quarterly Journal of Experimental Psychology Section A 54, no. 4 (November 2001): 1069–86. http://dx.doi.org/10.1080/713756006.
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Three experiments were conducted to examine age-related differences in colour memory. In Experiment 1, preschool age and elementary school age children were given a conceptual test of implicit colour memory (a colour-choice task). They were presented with the names or achromatic versions of previously studied coloured line drawings and asked to select an appropriate colour. Significant priming could be demonstrated: The children chose the previously seen colours more often than was expected by chance. Equivalent priming was found for both versions (pictorial and verbal) suggesting that colour priming may be conceptually mediated. Moreover, colour priming proved to be age invariant. Experiment 2 replicated and extended this finding by using a wider age group (preschool, elementary school, and young adults) and by giving a perceptual implicit task (picture identification) in addition to a verbal colour-choice task. Colour did not affect priming in the perceptual task. Whereas priming showed no developmental change, age related improvements were observed on an explicit colour memory task that differed only in the test instructions from the implicit colour-choice task (Experiments 2 and 3). Taken together, the results suggest that implicit colour memory may be mediated by conceptual processes that are age invariant.
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Skelton, A. E., and A. Franklin. "Infants look longer at colours that adults like when colours are highly saturated." Psychonomic Bulletin & Review 27, no. 1 (December 17, 2019): 78–85. http://dx.doi.org/10.3758/s13423-019-01688-5.
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AbstractThe extent to which aesthetic preferences are ‘innate’ has been highly debated (Reber, Schwarz, & Winkielman, Personality and Social Psychology Review, 8(4), 364–382, 2004). For some types of visual stimuli infants look longer at those that adults prefer. It is unclear whether this is also the case for colour. A lack of relationship in prior studies between how long infants look at different colours and how much adults like those colours might be accounted for by stimulus limitations. For example, stimuli may have been too desaturated for infant vision. In the current study, using saturated colours more suitable for infants, we aim to quantify the relationship between infant looking and adult preference for colour. We take infant looking times at multiple hues from a study of infant colour categorization (Skelton, Catchpole, Abbott, Bosten, & Franklin, Proceedings of the National Academy of Sciences of the United States of America, 114(21), 5545–5550, 2017) and then measure adult preferences and compare these to infant looking. When colours are highly saturated, infants look longer at colours that adults prefer. Both infant looking time and adult preference are greatest for blue hues and are least for green-yellow. Infant looking and adult preference can be partly summarized by activation of the blue-yellow dimension in the early encoding of human colour vision. These findings suggest that colour preference is at least partially rooted in the sensory mechanisms of colour vision, and more broadly that aesthetic judgements may in part be due to underlying sensory biases.
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Bian, Xiangyang, Wenli Lu, and Yijin Chen. "Visualizing Cosmetics Packaging Colour in the Republic of China." E3S Web of Conferences 179 (2020): 02045. http://dx.doi.org/10.1051/e3sconf/202017902045.
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During the period of the Republic of China, with the progress of printing technology, the application of colour in all kinds of packaging gradually diversified. This paper takes cosmetics packaging in the Republic of China as an example and sums up the common colours of cosmetics packaging. Based on the visual psychology, the paper analyzes the psychological characteristics of cosmetics packaging colour in the Republic of China. It can be seen that cosmetics packaging used colour to convey product information to consumers. Meanwhile, it meets the request of consumers for product colorization.
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Guthrie, J. T. "Psychology and perception of colour and shape." Surface Coatings International Part B: Coatings Transactions 86, no. 1 (March 2003): 35–42. http://dx.doi.org/10.1007/bf02699591.
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Noor Al-Huda Kadhim Hussein, Asst Prof Qasim Abbas Dhayef,. "A Pragmatic-Semantic Study of Colour Symbolism in English and Arabic Literary Texts." Psychology and Education Journal 58, no. 1 (January 1, 2021): 2180–85. http://dx.doi.org/10.17762/pae.v58i1.1095.
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Symbolism in general and colour symbolism in particular have not received the linguists' attention in the same way studied by literary critics. Thus, the present study is an attempt to limit this gap by studying colour symbolism linguistically to answer the following questions: (1) What is the most flouted maxim in colour symbolism in literary texts in English and Arabic? (2) Is colour symbolism context-dependent in literary texts? (3) What are the semantic aspects of colour symbolism in the literary texts selected? Thus, the present study aims at: (1) Pinpointing the most flouted maxim in colour symbolism in literary texts in English and Arabic. (2) Determining whether colour symbolism is context-dependent in literary texts. (3) Investigating he semantic aspects of colour symbolism in the literary texts selected. To achieve its aims, the present study hypothesizes that: (1) The maxim of manner is the most flouted maxim in colour symbolism in English and Arabic literary texts. (2) Colours symbolize different things in different contexts. (3) There are certain semantic aspects for colour symbolism manipulated in the literary texts such as using metaphor and conveying the connotative meaning of colours. Then, in order to achieve the aims of the study and test its hypotheses, the following procedures are adopted: (1) Presenting a theoretical background about colour symbolism in general and colour symbolism from a linguistic point of view. (2) Analyzing (six) extracts of literary texts according to an eclectic model based on Eco’s (1984) model Semiotics and the Philosophy of Language and some semantic aspects. The data of the present study is collected from Nathaniel Hawthorne and Wassini Al-A'erj novels "The Scarlet Letter" and "انثى السراب" Ontha Al Sarab" respectively. The study has come up with certain conclusions that prove the above set hypotheses.
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Gostkowska, Kaja. "Apprivoiser la richesse des couleurs sur la palette du peintre, ou vers une liste terminologique des noms de couleurs." Romanica Wratislaviensia 63 (October 11, 2016): 41–52. http://dx.doi.org/10.19195/0557-2665/63.4.
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HOW TO MASTER THE ABUNDANCE OF COLOURS ON THE PAINTER’S PALETTE, OR A STEP TOWARDS THE TERMINOLOGICAL LIST OFTERMS RELATED TO COLOURS Colour as a subject has led to numerous studies in various disciplines such as physics, psychology, chemistry or history of art, to name a few. In the field of linguistics, the names of colours have been analysed from different points of view but all those works concerned mostly the words related to colours used in the general language. The aim of the present paper is to focus on the terms related to colours used in history of art texts, and to show the unexpected complexity of such terminology. After presenting the definitions of colour we will describe two different aspects of French terminology related to colour: firstly, the forms of terms from the point of view of their morphological and semantic motivation, and secondly, the cultural and historical reasons of such linguistic abundance and complexity of the colours’ terminology.
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Arbab, Shabnam, Jonathan A. Brindle, Barbara S. Matusiak, and Christian A. Klöckner. "Categorisation of Colour Terms Using New Validation Tools: A Case Study and Implications." i-Perception 9, no. 2 (March 2018): 204166951876004. http://dx.doi.org/10.1177/2041669518760043.
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This article elaborates on the results of a field experiment conducted among speakers of the Chakali language, spoken in northern Ghana. In the original study, the Color-aid Corporation Chart was used to perform the focal task in which consultants were asked to point at a single colour tile on the chart. However, data from the focal task could not be analysed since the Color-aid tiles had not yet been converted into numerical values set forth by the Commission internationale de l’éclairage (CIE). In this study, the full set of 314 Color-aid tiles were measured for chromaticity and converted into the CIE values at the Daylight Laboratory of the Norwegian University of Science and Technology. This article presents the conversion methodology and makes the results of the measurements, which are available in the Online Appendix. We argue that some visual-perception terms cannot be reliably ascribed to colour categories established by the Color-aid Corporation. This suggests that the ideophonic expressions in the dataset do not denote ‘colours’, as categorised in the Color-aid system, as it was impossible to average the consultants’ data into a CIE chromaticity diagram, illustrate the phenomena on the Natural Colour System (NCS) Circle and Triangle diagrams, and conduct a statistical analysis. One of the implications of this study is that a line between a visual-perception term and a colour term could be systematically established using a method with predefined categorical thresholds.
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Bornstein, Marc H. "Colour-name versus shape-name learning in young children." Journal of Child Language 12, no. 2 (June 1985): 387–93. http://dx.doi.org/10.1017/s0305000900006498.
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ABSTRACTVery young children perceive colour normally and possess the concept of colour, but it has been widely reported, on the basis of informal observation or normative assessment, that beginning colour naming is confused and that accurate and consistent colour naming is relatively retarded developmentally. A neutral test was devised to compare experimentally 3-year-olds' abilities to make colour-to-name versus shape-to-name associations. Children learned colour-label associates significantly more slowly than matched shape-label associates, and they committed more errors with colours than with shapes during learning. The design of this study eliminates several explanations often proposed to explicate retarded colour naming, including relative perceptual salience, differential experience, and immature cognitive development, and, in their stead, opens the possibility that the difficulty underlying beginning colour naming may reflect specific word-to-colour associations.
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Sakata, K. "Elementary Colour Perception in Hue Judgment." Perception 26, no. 1_suppl (August 1997): 341. http://dx.doi.org/10.1068/v970324.
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The ratios of psychological elementary colours perceived in chromatic colour papers with a variety of hues were measured by a paired comparison method. Stimulus sets were composed of two colour papers with hues between two of four elementary colours, but on either side of one elementary colour. Five students observed stimulus sets comprising two colour papers under approximately 1000 lux D65 illumination, and they chose the one which caused the stronger elementary colour percept. The results showed that the sum of the ratios of two elementary colours in a colour whose hue is located between them was less than 100%. This result was the same for every hue condition. This shows that observers underestimated psychological elementary colours, consistent with previous studies (Sakata, 1996 Perception25 Supplement, 100) which showed that the sum of black and white was less than 100% in the perception of greys. If elementary colours are processed simultaneously from the whole colour percept, their sum would be 100%. The result of these experiments strongly shows that psychological elementary colours are processed independently from the inputs of the three cone systems and the rod system, and they are integrated to form the whole colour percept after each process.
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Weidenhammer, Erich. "Artifact Biography: A Variable Colour Mixer." Museum and Society 17, no. 3 (November 29, 2019): 307–12. http://dx.doi.org/10.29311/mas.v17i3.3230.
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Among the artifacts representing early research in experimental psychology at the University of Toronto is a precisely machined steel instrument of German manufacture. The provenance of this variable colour mixer opens onto a largely-forgotten history of research into colour perception that depended heavily on mechanical instruments of the spinning-wheel type. Like the broader practices and principles of experimental psychology, these instruments were widely disseminated during a period in which the German research-based model of university education was widely admired. For most of its early history at the University of Toronto, the experimental laboratory was run by a German, August Kirschmann (1860-1932), who led investigations into the psychological basis for aesthetic judgement, especially as it concerned colour perception. Kirschmann’s hostility to existing art criticism reflected his belief that experimental psychology could provide a coherent foundation to the language of aesthetics.
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Anderson, James R., Shunji Awazu, and Kazuo Fujita. "Colour versus quantity as cues in reverse-reward-competent squirrel monkeys (Saimiri sciureus)." Quarterly Journal of Experimental Psychology 62, no. 4 (April 2009): 673–80. http://dx.doi.org/10.1080/17470210802215186.
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To assess the relative salience of colour and quantity cues, squirrel monkeys previously trained to reach for the smaller of two quantities of food in a reverse-reward contingency task received colour discrimination training. After initial failure to discriminate between two colours of dots under a differential reinforcement regime, they learned the task when the S− colour was associated with zero reward. The monkeys then showed good retention on the original reverse-reward task of 1 versus 4 with pairs of dots presented in S+ or S− colours. However, on “mismatch” trials of 1S− versus 4S+, only 2 of 4 monkeys tested showed a preference—1 monkey chose based on quantity, the other based on colour. Individual differences and the possible roles of overshadowing and blocking are discussed.
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Weddel, Heino, and Claudius Pfendler. "Colour and Spatial Performance." Perceptual and Motor Skills 77, no. 3_suppl (December 1993): 1249–50. http://dx.doi.org/10.2466/pms.1993.77.3f.1249.
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An experiment was conducted to examine the influence of colour on spatial performance as measured with traditional tests for 29 adults. Spatial performance was significantly higher when testing material with highly saturated colours was used in comparison to colours of low saturation and achromatic shades.
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Elkan, Daniel. "The psychology of colour: Why winners wear red." New Scientist 203, no. 2723 (August 2009): 42–45. http://dx.doi.org/10.1016/s0262-4079(09)62292-2.
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Saysani, Armin. "How the Blind Hear Colour." Perception 48, no. 3 (February 12, 2019): 237–41. http://dx.doi.org/10.1177/0301006619830940.
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Crossmodal correspondences between seemingly independent sensory modalities are often observed in normal participants. For instance, colours commonly map consistently onto pure tones. In this study, we investigated colour-tone mapping in both normal trichromats and in people with congenital blindness. Participants were asked to match tones of differing pitch to named colours. In both cases, the tones selected varied consistently with the colour. The blind responses were similar to those of the trichromats, except in the case of red and green; the blind did not differentiate these colours, whereas the trichromats associated red with a higher tone and green with a lower tone. Otherwise, the results are consistent with a well-established association between pitch and lightness, with lighter colours associated with higher tones, and darker colours with lower tones. Because the blind never had any sensory experience of colour, their matching of colour to pitch is most likely based on semantic understanding.
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Okajima, K., M. Takase, and S. Takahashi. "Interaction between Colour and Depth Channels in Transparent Colour Perception." Perception 25, no. 1_suppl (August 1996): 115. http://dx.doi.org/10.1068/v96p0110.
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Two colours can be perceived at one location on overlapping planes only when the front plane is transparent. This phenomenon suggests that colour information processing is not independent of depth information processing and vice versa. To investigate the interaction between colour and depth channels, we used colour stimuli and binocular parallax to identify the conditions for transparency. Each stimulus, presented on a CRT to one eye, consisted of a centre patch and a surround. Binocular disparity was set so that the centre patch could be seen behind the surround. However, the surround appears to be behind the centre patch when the surround is perceived as an opaque plane. We examined several combinations of basic colours for the centre patch and surround. The surround luminance was constant at 1.0 cd m−2 and the luminance of the centre was varied. Subjects used the apparent depth of the surround to report whether or not transparency occurred. The results show two types of transparency: ‘bright-centre transparency’ and ‘dark-centre transparency’. We found that the range of centre luminances which yield transparency depends on the combination of centre and surround colours, ie influences of brightness and colour opponency were found. We conclude that there is interaction between colour and depth channels in the visual system.
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Sohmiya, Seiyu. "A Wave-Line Colour Illusion." Perception 36, no. 9 (September 2007): 1396–98. http://dx.doi.org/10.1068/p5808.
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A new colour-spreading illusion is reported. Illusory colours appear on a white background when three unconnected sinusoidal curves are aligned in parallel when the central line is of a different colour than the other two lines. For some combinations of colours, illusory colours appear not only around the central line but also around the other lines.
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Dreksler, Noemi, and Charles Spence. "A Critical Analysis of Colour–Shape Correspondences: Examining the Replicability of Colour–Shape Associations." i-Perception 10, no. 2 (March 2019): 204166951983404. http://dx.doi.org/10.1177/2041669519834042.
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Research on the topic of colour–shape correspondences started in the early 20th century with the Bauhaus artist Wassily Kandinsky. However, more recently, the topic has been examined using the empirical framework of crossmodal correspondences research. The field remains one in which consistent results and generalisable hypotheses about the existence and nature of colour–shape correspondences are lacking. The replicability and consistency of findings concerning colour–shape correspondences are examined in three online colour–shape matching experiments using the same procedure and study design while varying the sets of shape stimuli that are evaluated. Participants matched one of 36 colours to each shape as well as made preference and arousal appraisal ratings for each of the shapes and colours. The complexities of analysing colour–shape correspondence data are discussed and illustrated by classifying and analysing shape and colours in a variety of different ways, including using continuous perceptual and objective measures. Significant colour–shape associations were found. However, as hypothesised, limited consistent results in regard to what perceptual shape characteristics predicted colour choices were documented across the three stimuli sets. This was the case both within and across different analysis methods. The factors that may be responsible for these inconsistencies are critically discussed. Intriguingly, however, evidence for emotional mediation, whereby shape and colour liking and arousal appraisals appear to influence the colour–shape correspondences made by participants, was found across all three experiments.
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Benoit, Kristy E., Richard J. McNally, Ronald M. Rapee, Amanda L. Gamble, and Amy L. Wiseman. "Processing of Emotional Faces in Children and Adolescents With Anxiety Disorders." Behaviour Change 24, no. 4 (November 1, 2007): 183–94. http://dx.doi.org/10.1375/bech.24.4.183.
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AbstractThe purpose of this study was to test whether children and adolescents with anxiety disorders exhibit selective processing of threatening facial expressions in a pictorial version of the emotional Stroop paradigm. Participants named the colours of filters covering images of adults and children displaying either a neutral facial expression or one displaying the emotions of anger, disgust, or happiness. A delay in naming the colour of a filter implies attentional capture by the facial expression. Anxious participants, relative to control participants, exhibited slower colour naming overall, implying greater proneness to distraction by social cues. Children exhibited longer colour-naming latencies as compared to adolescents, perhaps because young children have a limited ability to inhibit attention to distracting stimuli. Adult faces were associated with slower colour naming than were child faces, irrespective of facial expressions in both groups, possibly because adults provide especially salient cues for children and adolescents. Inconsistent with prediction, participants with anxiety disorders were not slower than healthy controls at naming the colours of filters covering threatening expressions (i.e., anger and disgust) relative to filters covering faces depicting happy or neutral expressions.
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Mausfeld, Rainer, and Reinhard Niederée. "An Inquiry into Relational Concepts of Colour, Based on Incremental Principles of Colour Coding for Minimal Relational Stimuli." Perception 22, no. 4 (April 1993): 427–62. http://dx.doi.org/10.1068/p220427.
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Centre – surround stimuli evoke colour appearances (resembling surface colours) which cannot be produced by a single homogeneous spot of light alone (eg brown or grey). Although this seems of great impact to a general theory of colour (including ‘colour constancy’), the psychophysics of these ‘minimal relational stimuli’ is still less well understood than often assumed. On the basis of empirical as well as theoretical observations concerning centre– surround-type stimuli we introduce a relational model of colour coding. At the core of this model is the concept of a three-dimensional linear incremental colour code which behaves differently for increments and decrements. This model takes into account results on ‘discounting the background’ mechanisms and it is closely related to ratio-based relational concepts and to certain opponent-colour theories. In addition, it provides an analogue to the classical distinction between light and object colours, and covers colour appearances related to object colours as well. Within the conceptual framework offered, problems of complex colour perception (eg ‘colour constancy’) and judgmental modes are discussed. Conclusions regarding general limitations of three-dimensional modelling in colour perception are derived and corresponding refinements of the relational perspective are briefly outlined.
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Shepherd, Alex J. "A Vector Model of Colour Contrast in a Cone-Excitation Colour Space." Perception 26, no. 4 (April 1997): 455–70. http://dx.doi.org/10.1068/p260455.
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A vector model of colour contrast is examined in a colour space that is a logarithmic transformation of the MacLeod – Boynton cone-excitation diagram. Observers set matches in a haploscopic display, in which one eye viewed a standard display (a neutral target square in a coloured surround) and the other viewed a matching display (a variable square in its own surround). Contrast colours are simply represented in this colour space: the vector connecting the right-eye surround and matched chromaticities is parallel to and of the same length and direction as the vector that connects the left-eye (standard) surround and square chromaticities. This describes observers' matches to the hues induced in a neutral square for a range of inducing surround colours, a range of right-eye (match) surround colours and four different luminance contrasts.
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Baddeley, R., D. Osorio, and C. D. Jones. "Colour generalisation by domestic chicks." Behavioral and Brain Sciences 24, no. 4 (August 2001): 654. http://dx.doi.org/10.1017/s0140525x01210085.
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We present data on colour generalisation by chicks relevant to Tenenbaum and Griffiths' (T&G) Bayesian framework. Chicks were trained with either one or two colours, and tested for interpolation and extrapolation. T&G's framework predicts an observed lack of extrapolation on the red to yellow line in colour space. A modification incorporating stimulus uncertainty deals with a prototype effect, where an intermediate is preferred to exemplars. After training to complementary colours, chicks do not generalise across an intermediate grey as T&G predict. [Tenenbaum & Griffiths]
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Foster, David H., Sérgio M. C. Nascimento, and Kinjiro Amano. "Information Limits on Identification of Natural Surfaces by Apparent Colour." Perception 34, no. 8 (August 2005): 1003–8. http://dx.doi.org/10.1068/p5181.
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By adaptational and other mechanisms, the visual system can compensate for moderate changes in the colour of the illumination on a scene. Although the colours of most surfaces are perceived to be constant (‘colour constancy’), some are not. The effect of these residual colour changes on the ability of observers to identify surfaces by their apparent colour was determined theoretically from high-resolution hyperspectral images of natural scenes under different daylights with correlated colour temperatures 4300 K, 6 500 K, and 25000 K. Perceived differences between colours were estimated with an approximately uniform colour-distance measure. The information preserved under illuminant changes increased with the number of surfaces in the sample, but was limited to a relatively low asymptotic value, indicating the importance of physical factors in constraining identification by apparent colour.
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Price, Cathy J., and Glyn W. Humphreys. "The Effects of Surface Detail on Object Categorization and Naming." Quarterly Journal of Experimental Psychology Section A 41, no. 4 (November 1989): 797–827. http://dx.doi.org/10.1080/14640748908402394.
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Three experiments are reported examining the effects of surface colour and brightness/texture gradients (photographic detail) on object classification and naming. Objects were drawn from classes with either structurally similar or structurally dissimilar exemplars. In Experiment 1a, object naming was facilitated by both congruent surface colour and photographic detail, with the effects of these two variables combining under-additively. In addition incongruent colour disrupted naming accuracy. These effects tended to be larger on objects from structurally similar classes than on objects from structurally dissimilar classes. Experiment 1b examined superordinate classification. There were again advantages due to congruent colour and photographic detail on responses to objects from both structurally similar and structurally dissimilar classes. Incongruent colour disrupted classification accuracy on structurally distinct but not structurally similar items. For structurally similar items, the advantages of congruent surface attributes on classification were smaller than on naming, but this was not the case for structurally dissimilar items. Experiment 2 examined subordinate classification of structurally similar objects. Now effects of congruent and incongruent colour, but not of photographic detail, were found. Experiment 3 showed that congruent and incongruent colour effects occur only when the colours occupy the internal surfaces of objects. The results suggest that surface details can affect object recognition and naming, depending upon: (1) the degree to which objects must be differentiated for a correct response to be made, and (2) the nature of the rate-limiting process determining performance.
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Gračanin, Asmir, Kevin Kutnjak, and Igor Kardum. "Blue-eyed een erefer blue-eyed women: the role of life history strategies and sociosexuality." Psihologijske teme 30, no. 1 (2021): 31–56. http://dx.doi.org/10.31820/pt.30.1.2.
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Previous research (Laeng et al., 2007) conducted on Norwegian samples showed that blue-eyed men rate blue-eyed women as more attractive, while brown-eyed men and all the women show no differences in attractiveness assessments with respect to eye colour. Correspondingly, positive assortative mating was found for blue, but not brown eyes, and it most often occurred in blue-eyed men. We aimed to replicate this blue-like-blue effect in the Croatian population, which differs in the ratio of eye colour phenotypes (blue eye colour is the most prevalent in Norway while brown is the most prevalent in Croatia). Additionally, we examined whether this effect is moderated by life history strategies and sociosexuality. Our hypothesis was that the effect would be larger in those blue-eyed men who exert a slower life history strategy and who are sociosexually restrictive. One hundred and twenty-eight participants assessed the attractiveness of blue-eyed and brown-eyed models, whose eye colours were experimentally manipulated in such a way that participants were shown models with natural or artificially changed eye colours. The blue-like-blue effect was replicated in the context of preferences, although it was smaller than in the original study. However, unlike the original study, in a sample of 138 participants no assortative pairing by eye colour was found between participants and their romantic partners. Finally, the hypothesis about the moderation was supported for life history strategies, but not for sociosexuality. In addition to the rationale for the blue-like-blue effect based on the paternity uncertainty account, which was offered by the authors of the original study, we discussed other accounts of this phenomenon.
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Groh, Arnold. "Culture, Language and Thought: Field Studies on Colour Concepts." Journal of Cognition and Culture 16, no. 1-2 (February 24, 2016): 83–106. http://dx.doi.org/10.1163/15685373-12342169.
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In a series of studies the assumption of a lack of colour concepts in indigenous societies, as proposed by Berlin and Kay and others, was examined. The research took place in the form of minimally invasive field encounters with indigenous subjects in South East Asia and in India, as well as in West, Central, and South Africa. Subjects were screened for colour blindness using the Ishihara and Pflüger-Trident tests. Standardised colour tablets had to be designated in the indigenous languages; these terms were later translated by native speakers of the indigenous languages into a European language. The indigenous subjects were able to name the colours presented. Indigenous vs. globalised cultural factors were reflected in the use of reference objects for naming colours. Both metonymical and non-metonymical indigenous colour names did not follow a stage pattern as Berlin and Kay and others have proposed. The high precision of indigenous colour names corresponds both to the precision of experts’ colour names in the industrial culture, and to the highly precise grammar that characterises indigenous languages. It is concluded that cognitive categorisation of visual perception takes place regardless of the cultural context, and that former misunderstandings resulted from inappropriate methodological designs.
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Barbur, John L. "Understanding colour." Trends in Cognitive Sciences 7, no. 10 (October 2003): 434–36. http://dx.doi.org/10.1016/j.tics.2003.08.011.
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Hunjet, Anica, and Jelena Ivančić. "The impact of colour psychology on the cridens design." International Journal Vallis Aurea 4, no. 2 (December 1, 2018): 19–28. http://dx.doi.org/10.2507/ijva.4.2.2.52.
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Leonards, U., and W. Singer. "Texture Segregation by Orientation Differences: Colour Sensitive but Not Hue Specific?" Perception 25, no. 1_suppl (August 1996): 98. http://dx.doi.org/10.1068/v96l0503.
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Segregation of textures on the basis of orientation differences between texture elements is achieved even when these texture elements differ from their surround only by colour (McIlhagga et al, 1990 Vision Research30 489 – 495). This finding seems to contradict the assumption that colour and orientation are extracted in separate feature maps (eg Treisman and Sato, 1990 Journal of Experimental Psychology: Human Perception and Performance16 459 – 478). To examine whether colour information is evaluated in parallel in different processing streams for the assessment of hue and form, we tested whether texture elements can be segregated if they differ only by specific conjunctions of colour and orientation; texture elements consisted of crosses with their two crossing lines differing in colour. Texture elements defining figure and background had the same coloured composition but the conjunction of colour with the two crossing lines was reversed. Different colour combinations were tested under various luminance contrast conditions, irrespective of the colour combination, segmentation was achieved as long as the two crossing lines of the texture elements differed in luminance. If, however, the different colours of the two crossing lines were approximately equiluminant, segmentation was reduced or impossible. Thus, subjects were able to use for texture segregation conjunctions between luminance and orientation but not between colour and orientation. Our results suggest that colour cannot be associated selectively with differently oriented components of the same texture element. This supports the hypothesis that colour contrast is used in parallel by different processing streams to assess the orientation and hue of contours and reveals limitations in the selectivity with which features are subsequently bound together.
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Jackson, Frank. "Color and content." Behavioral and Brain Sciences 26, no. 1 (February 2003): 34. http://dx.doi.org/10.1017/s0140525x03350010.
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AbstractThose who identify colours with physical properties need to say how the content of colour experiences relate to their favoured identifications. This is because it is not plausible to hold that colour experiences represent things as having the physical properties in question. I sketch how physical realists about colour might tackle this item of unfinished business.
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Moulden, Bernard, Fred Kingdom, and Brian Wink. "Colour Pools, Brightness Pools, Assimilation, and the Spatial Resolving Power of the Human Colour-Vision System." Perception 22, no. 3 (March 1993): 343–51. http://dx.doi.org/10.1068/p220343.
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A stimulus is described that demonstrates the spatial pooling of colour information in the visual system. Chequerboards (or gratings) consisting of alternating squares (or stripes) of complementary colours become achromatic at particular spatial scales; such stimuli have been named ‘transchromatic’ stimuli. Colour pools are much larger than the receptive fields that respond to luminance contrast. Some measurements are described which form the basis for estimates of the size of the colour pools. The size of colour pools varies according to the colours involved. For red—cyan and green—magenta complementary pairs colour is pooled at spatial frequencies above about 7–8 cycles deg−1, implying pools whose diameter is around 8 min arc. For yellow—blue complementary pairs the corresponding figures are about 4 cycles deg−1 and 15 min arc. Some phenomena of normal colour vision, colour blindness, and the development of infant vision are discussed in the light of these findings.
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David, A. S. "Tachistoscopic tests of colour naming and matching in schizophrenia: evidence for posterior callosum dysfunction?" Psychological Medicine 17, no. 3 (August 1987): 621–30. http://dx.doi.org/10.1017/s0033291700025861.
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SynopsisNeuropsychological studies have shown that the integrity of the posterior corpus callosum is necessary for accurate colour naming in the left visual field (LVF) and colour matching across hemifields. Using this model, 22 schizophrenics, 14 depressive and 16 healthy matched controls were given a battery of tachistoscopic tests of colour perception. The schizophrenics made significantly more errors, in naming colours in the LVF compared to depressives, and in matching colours across fields compared to depressives and normals. There were no differences between groups for right visual (RVF) colour naming or matching within right and left visual fields. These findings support the hypothesis that trans-callosal transmission may be impaired in schizophrenia and are unlikely to be due to a specific disorder of colour perception, neuroleptic drugs or generally impaired performance. Those schizophrenics whose LVF naming errors exceeded RVF errors were more likely to have first rank symptoms and showed less cerebral atrophy but did not differ on other variables. The techniques described may be useful for further research into interhemispheric function in schizophrenia.
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De Winter, Stefanie, Pieter Moors, Hilde Van Gelder, and Johan Wagemans. "Illusory Depth Based on Interactions Between Fluorescent and Conventional Colours: A Case Study on Frank Stella’s Irregular Polygons Paintings." Art and Perception 6, no. 2-3 (October 17, 2018): 116–50. http://dx.doi.org/10.1163/22134913-20181093.
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Although Frank Stella intended to create flat, illusion-less Irregular Polygons paintings, it is not uncommon to experience the illusion of colour depth, based on the interaction between their fluorescent and conventional colours. Some critics praised these artworks’ flatness, while others described odd depth experiences that they categorised as a new kind of illusion. In order to provide a correct reading of these works and to reassess their art historical significance, a scientific case study regarding this colour-depth effect imposes itself. This article discusses an experiment in which we determined whether twenty artists, twenty art historians and twenty laypeople experienced fluorescent colours as protruding, receding or flat in combination with conventional colours. We additionally looked at whether they still perceived colour depth when all fluorescent colours were replaced with their conventional variants. All participants observed fifteen designs, which they had to rate according to the perceived depth of each coloured region with a number between −3 (strongly receding) and +3 (strongly protruding). The results revealed that most participants experience fluorescent regions as strongly protruding, unlike all conventional colours, which were rated as much less protruding. When a fluorescent colour was swapped with a conventional variant, all participants experienced significantly less depth. The differences between the subject groups were statistically negligible when looking at the mean depth ratings for both colour types. However, we discovered that artists experienced more contrast effects, as they gave different ratings to different panels (of identical colour and shape) in the same design, depending on their position.
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Whittle, P. "Perfect Von Kries Contrast Colours." Perception 25, no. 1_suppl (August 1996): 179. http://dx.doi.org/10.1068/v96l0408.
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Under certain viewing conditions, the colour of a light in a surround is determined by the vector from the surround to the colour in a 3-D colour space. This behaviour has been explored with a computer graphics tool that allows sets of such vectors to be drawn from two surrounds in any plane in any colour space, and allows the resulting lights-in-surrounds to be compared haploscopically. In a log cone-excitation space contrast colours with the same surround-to-colour vectors match well, over a surprisingly wide range of chromaticities and luminance contrasts. This implies that the contrast colours are determined by the three cone contrasts; the absolute chromaticities and luminances do not matter. Some limits and implications of this behaviour are discussed.
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Bramwell, David I., and Anya C. Hurlbert. "Measurements of Colour Constancy by Using a Forced-Choice Matching Technique." Perception 25, no. 2 (February 1996): 229–41. http://dx.doi.org/10.1068/p250229.
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Colour constancy is typically measured with techniques involving asymmetric matching by adjustment, in which the observer views two scenes under different illuminants and adjusts the colour of a reference patch in one to match a test patch in the other. This technique involves an unnatural task, requiring the observer to predict and adjust colour appearance under an illumination shift. Natural colour constancy is more a simple matter of determining whether a colour is the same as or different from that seen under different illumination conditions. There are also technical disadvantages to the method of matching by adjustment, particularly when used to measure colour constancy in complex scenes. Therefore, we have developed and tested a two-dimensional method of constant-stimuli, forced-choice matching paradigm for measuring colour constancy. Observers view test and reference scenes haploscopically and simultaneously, each eye maintaining separate adaptation throughout a session. On each trial, a pair of test and reference patches against multicoloured backgrounds are presented, the reference patch colours being selected from a two-dimensional grid of displayable colours around the point of perfect colour constancy. The observer's task is to respond “same” or “different”. Fitting a two-dimensional Gaussian to the percentage of “different” responses yields (1) the subjective colour-constancy point, (2) the discrimination ellipse centred on this point, and (3) a map of changes in sensitivity to chromatic differences induced by the illuminant shift. The subjective colour-constancy point measured in this way shows smaller deviations from perfect colour constancy—under conditions of monocular adaptation—than previously reported; discrimination ellipses are several times larger than standard MacAdam ellipses; and chromatic sensitivity is independent of the direction of the illuminant shift, for broad distributions of background colours.
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NIJBOER, T., M. VANZANDVOORT, and E. DEHAAN. "Covert colour processing in colour agnosia." Neuropsychologia 44, no. 8 (2006): 1437–43. http://dx.doi.org/10.1016/j.neuropsychologia.2005.12.004.
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Guest, Steve, and Darren Van Laar. "The Effect of Name Category and Discriminability on the Search Characteristics of Colour Sets." Perception 31, no. 4 (April 2002): 445–61. http://dx.doi.org/10.1068/p3134.
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Within (and between) cultures, people tend to agree on which parts of colour space are easiest to name and what the names for these regions are. Therefore it is likely that the manipulation of ease of naming (nameability) of colours should change performance in tasks where categorisation by colour name is important. More specifically, highly ‘nameable’ colour sets should lead to better performance than metrically equivalent but less categorically distinct sets, when the task requires categorisation. This hypothesis was investigated by testing observers on a name-based task, the naming and subsequent identification by name of colour sets with up to sixteen members. These sets were designed to be easy to name (nameable), maximally discriminable, or matched discriminable. The first were derived from previously generated data, the second by a standard algorithm to space colours widely in colour space, and the latter by closely matching their metric characteristics to those of an easy-to-name colour set. This final condition was metrically (but not categorically) equivalent to the nameable set. It was found that sets designed to be nameable did indeed lead to superior performance as measured by response times, confidence ratings, and response accuracy. Perceptual colour similarity, measured by a ΔE metric, did not predict errors. Nameability may thus be a valid, manipulable, aspect of sets of colours, and one which is not otherwise duplicated in the metric characteristics of such sets.