Blue hues don't bring the blues: questioning conventional notions of color-emotion associations

Adaptive Color Transfer From Images to Terrain Visualizations

Terrain mapping is not only dedicated to communicating how high or steep a landscape is but can also help to indicate how we feel about a place. However, crafting effective and expressive elevation colors is challenging for both nonexperts and experts. In this article, we present a two-step image-to-terrain color transfer method that can transfer color from arbitrary images to diverse terrain models. First, we present a new image color organization method that organizes discrete, irregular image colors into a continuous, regular color grid that facilitates a series of color operations, such as local and global searching, categorical color selection and sequential color interpolation. Second, we quantify a series of cartographic concerns about elevation color crafting, such as the "lower, higher" principle, color conventions, and aerial perspectives. We also define color similarity between images and terrain visualizations with aesthetic quality. We then mathematically formulate image-to-terrain color transfer as a dual-objective optimization problem and offer a heuristic searching method to solve the problem. Finally, we compare elevation colors from our method with a standard color scheme and a representative color scale generation tool based on four test terrains. The evaluations show that the elevation colors from the proposed method are most effective and that our results are visually favorable. We also showcase that our method can transfer emotion from images to terrain visualizations.

Reducing sweetness expectation in milk tea by crossmodal visuo-auditory interaction

In the realm of healthy dietary choices about reducing sweetness perception, the exploration of crossmodal effects stands as a frequently employed approach. Both music and color can independently influence flavor evaluation and gustatory experience by eliciting emotions. However, less research has been done on the effects of audio-visual crossmodal interactions on sweetness expectations and perceptions. The present study conducted two experiments delving into the crossmodal effect on sweetness expectation and perception of milk tea by manipulating the emotional valence of music and packaging color. The results showed that positive (vs. negative) music led to higher sweetness expectations and perceptions for milk teas with neutral packaging color. Irrespective of music, participants had higher sweetness expectations for milk tea with positive or neutral (vs. negative) packaging colors. The congruence of valence between music and packaging color influenced sweetness perception. Positive (vs. negative) music correlated with a sweeter perception when the packaging color was positive. Exposed to negative music, subjects showed a higher sweetness perception with negative (vs. positive) packaging colors. In conclusion, the results suggest that the valence of music and packaging color crossmodally influence consumers' evaluation of milk tea, and it differs depending on whether it was tasted. Thus, this study has demonstrated the crossmodal influence of music and packaging color, providing valuable implications for healthy eating and marketing applications.

Effects of environmental colours in virtual reality: Physiological arousal affected by lightness and hue

It is a popular belief that colours impact one's psychological and affective functioning. However, clear-cut scientific evidence is still lacking, largely due to methodological challenges. Virtual reality (VR) enabled us to control and modify the environment. We exposed 60 participants to red or blue environments varying in lightness and saturation. We assessed participants' physiological responses (i.e. arousal) with heart rate and skin conductance measures, and their self-reported levels of valence and arousal in response to the coloured environments. The results revealed physiological effects of lightness and hue. When compared with the baseline measures, heart rate increased, and heart rate variability decreased more in the dark than the medium lightness rooms. Both measures signalled higher arousal in the darker room, irrespective of hue. Also, when compared with the baseline measures, skin conductance increased more in the red than the blue rooms, again signalling higher arousal in the red condition. The difference between the red and the blue conditions was detectable only on some saturation and lightness combinations. We conclude that being immersed in environments of different colours can change physiological arousal. However, not all changes are driven by hue and not all the effects are measurable on all physiological parameters.

Shape-color associations in an unrestricted color choice paradigm

Since Kandinsky's claim for fundamental shape-color associations, several studies have revealed that those tendencies were not generalizable to the entire population and that different associations were more prevalent. Past studies, however, lacked a methodology that allowed participants to freely report their shape-color preferences. Here, we report data from 7,517 Danish individuals, using a free choice full color wheel for five different geometrical shapes. We find significant shape-hue associations for circle-red/yellow, triangle-green/yellow, square-blue, and pentagon/hexagon-magenta. The significant shape-hue associations are also more saturated than non-significant ones for the circle, triangle, and square. At the conceptual level, basic shapes, which show stronger associations, are linked to primary colors, and non-basic shapes to secondary colors. Shape-color associations seem indeed to follow the Berlin-Kay stages of entry into languages. This pattern had previously been described for graphemes and weekday-color associations. The methodology employed in our study can be repeated in different cultural contexts in the future. We also provide another instance of color associations for ordinal concepts that follow the stages of entry into languages.

The good, the bad, and the red: implicit color-valence associations across cultures

Cultural differences-as well as similarities-have been found in explicit color-emotion associations between Chinese and Western populations. However, implicit associations in a cross-cultural context remain an understudied topic, despite their sensitivity to more implicit knowledge. Moreover, they can be used to study color systems-that is, emotional associations with one color in the context of an opposed one. Therefore, we tested the influence of two different color oppositions on affective stimulus categorization: red versus green and red versus white, in two experiments. In Experiment 1, stimuli comprised positive and negative words, and participants from the West (Austria/Germany), and the East (Mainland China, Macau) were tested in their native languages. The Western group showed a significantly stronger color-valence interaction effect than the Mainland Chinese (but not the Macanese) group for red-green but not for red-white opposition. To explore color-valence interaction effects independently of word stimulus differences between participant groups, we used affective silhouettes instead of words in Experiment 2. Again, the Western group showed a significantly stronger color-valence interaction than the Chinese group in red-green opposition, while effects in red-white opposition did not differ between cultural groups. Our findings complement those from explicit association research in an unexpected manner, where explicit measures showed similarities between cultures (associations for red and green), our results revealed differences and where explicit measures showed differences (associations with white), our results showed similarities, underlining the value of applying comprehensive measures in cross-cultural research on cross-modal associations.

Unifying Effects of Direct and Relational Associations for Visual Communication

People have expectations about how colors map to concepts in visualizations, and they are better at interpreting visualizations that match their expectations. Traditionally, studies on these expectations (inferred mappings) distinguished distinct factors relevant for visualizations of categorical vs. continuous information. Studies on categorical information focused on direct associations (e.g., mangos are associated with yellows) whereas studies on continuous information focused on relational associations (e.g., darker colors map to larger quantities; dark-is-more bias). We unite these two areas within a single framework of assignment inference. Assignment inference is the process by which people infer mappings between perceptual features and concepts represented in encoding systems. Observers infer globally optimal assignments by maximizing the "merit," or "goodness," of each possible assignment. Previous work on assignment inference focused on visualizations of categorical information. We extend this approach to visualizations of continuous data by (a) broadening the notion of merit to include relational associations and (b) developing a method for combining multiple (sometimes conflicting) sources of merit to predict people's inferred mappings. We developed and tested our model on data from experiments in which participants interpreted colormap data visualizations, representing fictitious data about environmental concepts (sunshine, shade, wild fire, ocean water, glacial ice). We found both direct and relational associations contribute independently to inferred mappings. These results can be used to optimize visualization design to facilitate visual communication.

Built environment color modulates autonomic and EEG indices of emotional response

Understanding built environment exposure as a component of environmental enrichment has significant implications for mental health, but little is known about the effects design characteristics have on our emotions and associated neurophysiology. Using a Cave Automatic Virtual Environment while monitoring indoor environmental quality (IEQ), 18 participants were exposed to a resting state (black), and two room scenes, control (white) and condition (blue), to understand if the color of the virtual walls affected self-report, autonomic nervous system, and central nervous system correlates of emotion. Our findings showed that exposure to the chromatic color condition (blue) compared to the achromatic control (white) and resting-state (black, no built environment) significantly increased the range in respiration and skin conductance response. We also detected a significant increase in alpha frontal midline power and frontal hemispheric lateralization relative to blue condition, and increased power spectral density across all electrodes in the blue condition for theta, alpha, and beta bandwidths. The ability for built environment design to modulate emotional response has the potential to deliver significant public health, economic, and social benefits to the entire community. The findings show that blue coloring of the built environment increases autonomic range and is associated with modulations of brain activity linked to emotional processing.

Crossmodal Correspondence between Music and Ambient Color Is Mediated by Emotion

The quality of a concert hall primarily depends on its acoustics. But does visual input also have an impact on musical enjoyment? Does the color of ambient lighting modulate the perceived music quality? And are certain colors perceived to fit better than others with a given music piece? To address these questions, we performed three within-subjects experiments. We carried out two pretests to select four music pieces differing in tonality and genre, and 14 lighting conditions of varying hue, brightness, and saturation. In the main experiment, we applied a fully crossed repeated-measures design. Under each of the four lighting conditions, participants rated the musical variables ‘Harmonic’, ‘Powerful’, ‘Gloomy’, ‘Lively’ and overall liking of the music pieces, as well as the perceived fit of music and lighting. Subsequently, participants evaluated music and lighting separately by rating the same variables as before, as well as their emotional impact (valence, arousal, dominance). We found that music and lighting being similarly rated in terms of valence and arousal in the unimodal conditions were judged to match better when presented together. Accordingly, tonal (atonal) music was rated to fit better with weakly saturated (highly saturated) colors. Moreover, some characteristics of the lighting were carried over to music. That is, just as red lighting was rated as more powerful than green and blue lighting, music was evaluated to be more powerful under red compared to green and blue lighting. We conclude that listening to music is a multisensory process enriched by impressions from the visual domain.

Color Affects Recognition of Emoticon Expressions

In computer-mediated communication, emoticons are conventionally rendered in yellow. Previous studies demonstrated that colors evoke certain affective meanings, and face color modulates perceived emotion. We investigated whether color variation affects the recognition of emoticon expressions. Japanese participants were presented with emoticons depicting four basic emotions (Happy, Sad, Angry, Surprised) and a Neutral expression, each rendered in eight colors. Four conditions (E1–E4) were employed in the lab-based experiment; E5, with an additional participant sample, was an online replication of the critical E4. In E1, colored emoticons were categorized in a 5AFC task. In E2–E5, stimulus affective meaning was assessed using visual scales with anchors corresponding to each emotion. The conditions varied in stimulus arrays: E2: light gray emoticons; E3: colored circles; E4 and E5: colored emoticons. The affective meaning of Angry and Sad emoticons was found to be stronger when conferred in warm and cool colors, respectively, the pattern highly consistent between E4 and E5. The affective meaning of colored emoticons is regressed to that of achromatic expression counterparts and decontextualized color. The findings provide evidence that affective congruency of the emoticon expression and the color it is rendered in facilitates recognition of the depicted emotion, augmenting the conveyed emotional message.

Effects of color–emotion association on facial expression judgments

Color and emotion are metaphorically associated in the human mind. This color–emotion association affects perceptual judgment. For example, stimuli representing colors can affect judgment of facial expressions. The present study examined whether colors associated with happiness (e.g., yellow) and sadness (e.g., blue and gray) facilitate judgments of the associated emotions in facial expressions. We also examined whether temporal proximity between color and facial stimuli interacts with any of these effects. Participants were presented with pictures of a happy or sad face against a yellow-, blue-, or gray-colored background and asked to judge whether the face represented happiness or sadness as quickly as possible. The face stimulus was presented simultaneously (Experiment 1) or preceded for one second by the colored background (Experiment 2). The analysis of response time showed that yellow facilitated happiness judgment, while neither blue nor gray facilitated sadness judgment. Moreover, the effect was found only when the face and color stimuli were presented simultaneously. The results imply that the association of sadness with blue and gray is weak and, consequently, does not affect emotional judgment. Our results also suggest that temporal proximity is critical for the effect of the color–emotion association (e.g., yellow–happiness) on emotional judgment.

Visualization as a stimulus domain for vision science

Traditionally, vision science and information/data visualization have interacted by using knowledge of human vision to help design effective displays. It is argued here, however, that this interaction can also go in the opposite direction: the investigation of successful visualizations can lead to the discovery of interesting new issues and phenomena in visual perception. Various studies are reviewed showing how this has been done for two areas of visualization, namely, graphical representations and interaction, which lend themselves to work on visual processing and the control of visual operations, respectively. The results of these studies have provided new insights into aspects of vision such as grouping, attentional selection and the sequencing of visual operations. More generally yet, such results support the view that the perception of visualizations can be a useful domain for exploring the nature of visual cognition, inspiring new kinds of questions as well as casting new light on the limits to which information can be conveyed visually.

English colour terms carry gender and valence biases: A corpus study using word embeddings

In Western societies, the stereotype prevails that pink is for girls and blue is for boys. A third possible gendered colour is red. While liked by women, it represents power, stereotypically a masculine characteristic. Empirical studies confirmed such gendered connotations when testing colour-emotion associations or colour preferences in males and females. Furthermore, empirical studies demonstrated that pink is a positive colour, blue is mainly a positive colour, and red is both a positive and a negative colour. Here, we assessed if the same valence and gender connotations appear in widely available written texts (Wikipedia and newswire articles). Using a word embedding method (GloVe), we extracted gender and valence biases for blue, pink, and red, as well as for the remaining basic colour terms from a large English-language corpus containing six billion words. We found and confirmed that pink was biased towards femininity and positivity, and blue was biased towards positivity. We found no strong gender bias for blue, and no strong gender or valence biases for red. For the remaining colour terms, we only found that green, white, and brown were positively biased. Our finding on pink shows that writers of widely available English texts use this colour term to convey femininity. This gendered communication reinforces the notion that results from research studies find their analogue in real word phenomena. Other findings were either consistent or inconsistent with results from research studies. We argue that widely available written texts have biases on their own, because they have been filtered according to context, time, and what is appropriate to be reported.

Colour-emotion associations in individuals with red-green colour blindness

Colours and emotions are associated in languages and traditions. Some of us may convey sadness by saying feeling blue or by wearing black clothes at funerals. The first example is a conceptual experience of colour and the second example is an immediate perceptual experience of colour. To investigate whether one or the other type of experience more strongly drives colour-emotion associations, we tested 64 congenitally red-green colour-blind men and 66 non-colour-blind men. All participants associated 12 colours, presented as terms or patches, with 20 emotion concepts, and rated intensities of the associated emotions. We found that colour-blind and non-colour-blind men associated similar emotions with colours, irrespective of whether colours were conveyed via terms (r = .82) or patches (r = .80). The colour-emotion associations and the emotion intensities were not modulated by participants’ severity of colour blindness. Hinting at some additional, although minor, role of actual colour perception, the consistencies in associations for colour terms and patches were higher in non-colour-blind than colour-blind men. Together, these results suggest that colour-emotion associations in adults do not require immediate perceptual colour experiences, as conceptual experiences are sufficient.