The development of an emotion model based on colour combinations

Abstract

The purpose of this study was to develop an emotion model based on the colour combinations popularly used for interior coordination in Korea. To summarize, the emotion model had the following features: (1) It consisted of three axes named as ‘soft–hard’ (first dimension), ‘light–heavy’ (second dimension) and ‘splendid–sober’ (third dimension). (2) The emotion descriptors were categorized into nine emotion groups and matched with the representing colour combinations. (3) This emotion model had a one‐to‐multiplicity correspondence structure between the colour combination and the emotion descriptor, whereas most of the previously developed models included only one‐to‐one correspondence. (4) It was observed that the emotion variable only showed a relatively consistent tendency within the space of the emotion model as the difference in the tone of colour combinations increased or decreased. The emotion model developed in this study can be used as a basis for the determination of local consumers’ emotion on colour combinations to support colour planning in the industrial design field relevant to interior coordination.

The emotional connotations of color: A qualitative investigation

“…This was also the case for pink where its lightness was said to ''tone down'' the aggressive and active feelings associated with red and make it more feminine (see also Lee and Lee, 12 Garret and Brooks, 13 Weller and Livingston. 14 ''If it's a light red it's softer, not as strong emotions, although once it becomes pink it's more feminine''-Natalie…”

Strategic Use of Colour in Brand Packaging

“…Another finding is the existence of universal colour preferences, although national variations in consumer preferences are detected as well. The first findings could be explained by unconscious or conscious colour effects, while the latter preferences could be the result of semiconscious colour learning . Innate colour effects could also explain why the cold and short‐wavelength colours like blue and green are generally preferred to the warm and long‐wavelength colours red and yellow .…”

“…Figure stresses that packaging colours influence emotions at least at some level, the responses being unconscious (innate), semiconscious (culturally learned) or conscious (personal colour preferences based on personal experiences, for example) …”

A Study of the Factors Affecting Colour Meaning and Emotional Response

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