Search

Studies on the color category PURPLE yielded inconsistent category boundaries, focal colors, and color‐emotion associations. In French, there are at least three color terms referring to the shades of purple, potentially weighing on these inconsistencies. Thus, we tested the semantic breadth and richness in semantic meaning of violet (basic term), lilas (non‐basic), and pourpre (non‐basic). We collected free associations in 274 French speakers from Algeria, France, and Switzerland, yielding 2079 responses, of which 436 were discrete and 275 were unique. Frequency analyses and semantic coding supported the basicness status of violet in French, within a hierarchically structured semantic system. Moreover, the meaning of the three terms was not synonymous. Violet had the most abstract meaning. Lilas had the narrowest meaning, mainly referring to Natural Entities. Pourpre seemed close to RED. We found no differences between the countries. Future studies should extend this approach to other languages and other color terms. [ABSTRACT FROM AUTHOR]

In 2015, a picture of a Dress (henceforth the Dress) triggered popular and scientific interest; some reported seeing the Dress in white and gold (W&G) and others in blue and black (B&B). We aimed to describe the phenomenon and investigate the role of contextualization. Few days after the Dress had appeared on the Internet, we projected it to 240 students on two large screens in the classroom. Participants reported seeing the Dress in B&B (48%), W&G (38%), or blue and brown (B&Br; 7%). Amongst numerous socio-demographic variables, we only observed that W&G viewers were most likely to have always seen the Dress as W&G. In the laboratory, we tested how much contextual information is necessary for the phenomenon to occur. Fifty-seven participants selected colours most precisely matching predominant colours of parts or the full Dress. We presented, in this order, small squares (a), vertical strips (b), and the full Dress (c). We found that (1) B&B, B&Br, and W&G viewers had selected colours differing in lightness and chroma levels for contextualized images only (b, c conditions) and hue for fully contextualized condition only (c) and (2) B&B viewers selected colours most closely matching displayed colours of the Dress. Thus, the Dress phenomenon emerges due to inter-individual differences in subjectively perceived lightness, chroma, and hue, at least when all aspects of the picture need to be integrated. Our results support the previous conclusions that contextual information is key to colour perception; it should be important to understand how this actually happens. [ABSTRACT FROM AUTHOR]

Color therapy, healing through color, supposedly works through the physical exposure to color. In two studies, we assessed stress and anxiety reduction after color exposure using a commercially available relaxation‐through‐color routine. Participants either completed the routine by looking at the accompanying color disks or at a white patch. In study 1 (longitudinal), 60 participants completed the routine three times, each testing session separated by a week. In study 2 (cross‐sectional), 63 participants completed half of the trials once. In both studies, we recorded a decrease in stress and anxiety levels comparing before‐after scores. In study 1, we recorded incremental decreases with each week. Crucially, decreases were the same whether participants (a) physically saw colors or not, and (b) completed the full or shortened version. We conclude that other factors but physical exposure to color explain changes in affective states associated with this and probably other color therapy routines. [ABSTRACT FROM AUTHOR]

Colours carry social connotations like pink for girls and blue for boys. In a cross-sectional study, we investigated whether such early gender coding might be reflected in absolute colour preferences in children and adults of both genders. In two studies, participants selected their favourite (and least favourite, Study 2) colour from an unrestricted sample of colours. We tested 129 Swiss children (Study 1, 10–14 years-old, 68 boys) and 180 Swiss adults (Study 2, 17–48 years-old, 88 men). In children, we observed that girls chose pink/purple as their favourite hue more often than boys did, the most common favourite hue in girls and boys was blue, and boys chose red as their favourite more often than girls did. In adults, we observed that both genders almost never choose pink as their favourite, blue was a common favourite colour, and women were more likely to favour red than were men. In an additional study (n = 183 Swiss participants, 47 men), we tested whether liking of pink, blue, and red was related to emotion associations with these colours. Pink was associated with positive emotions to the same extent as blue and red. Women further associated more positive emotions with pink than did men. We conclude that some commonalities (blue) and gender differences (pink and red) exist in absolute colour preferences. These differences, however, cannot be fully accounted by emotional associations. We speculate about these gendered colour preferences in relation to gender stereotypes and status differences between men and women. [ABSTRACT FROM AUTHOR]

Popular opinion holds that color has specific affective meaning. Brighter, more chromatic, and warm colors were conceptually linked to positive stimuli and darker, less chromatic, and cool colors to negative stimuli. Whether such systematic color associations exist with actually mood felt remains to be tested. We experimentally induced four moods—joy, relaxation, fear, and sadness—in a between‐subject design (N = 96). Subsequently, we asked participants to select a color, from an unrestricted sample, best representing their current mood. Color choices differed between moods on hue, lightness, and chroma. Yellow hues were systematically associated with joy while yellow‐green hues with relaxation. Lighter colors were matched to joy and relaxation (positive moods) than fear and sadness (negative moods). Most chromatic colors were matched to joy, then relaxation, fear, and sadness. We conclude that color choices represent felt mood to some extent, after accounting for a relatively low specificity for color‐mood associations. [ABSTRACT FROM AUTHOR]

Humans like some colours and dislike others, but which particular colours and why remains to be understood. Empirical studies on colour preferences generally targeted most preferred colours, but rarely least preferred (disliked) colours. In addition, findings are often based on general colour preferences leaving open the question whether results generalise to specific objects. Here, 88 participants selected the colours they preferred most and least for three context conditions (general, interior walls, t-shirt) using a high-precision colour picker. Participants also indicated whether they associated their colour choice to a valenced object or concept. The chosen colours varied widely between individuals and contexts and so did the reasons for their choices. Consistent patterns also emerged, as most preferred colours in general were more chromatic, while for walls they were lighter and for t-shirts they were darker and less chromatic compared to least preferred colours. This meant that general colour preferences could not explain object specific colour preferences. Measures of the selection process further revealed that, compared to most preferred colours, least preferred colours were chosen more quickly and were less often linked to valenced objects or concepts. The high intra- and inter-individual variability in this and previous reports furthers our understanding that colour preferences are determined by subjective experiences and that most and least preferred colours are not processed equally. [ABSTRACT FROM AUTHOR]