The negative impact of saturation on website trustworthiness and appeal: A temporal model of aesthetic website perception

Skulmowski, Alexander; Augustin, Yannik; Pradel, Simon; Nebel, Steve; Schneider, Sascha; Rey, Günter Daniel

doi:10.1016/j.chb.2016.03.054

Cited by 26 publications

(18 citation statements)

References 38 publications

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“…Regarding the aesthetic evaluation of color on websites, Seckler et al (2015) showed that blue hues and intermediately to highly saturated colors (together with low complexity and high symmetry) were most preferred. Contrary to this, Skulmowski et al (2016) found that higher saturation did not lead to a greater preference in website evaluation. They claimed that, depending on the content of the website, color saturation had a negative effect.…”

Section: Color Saturation In Digitized Imagescontrasting

confidence: 68%

“…When it comes to saturation preference in general, studies have shown that Western adults prefer more saturated colors over less saturated colors, provided the color is not "too vivid" (Granger, 1955, p. 15; see also Valdez and Mehrabian, 1994;Camgöz et al, 2002;Palmer and Schloss, 2015). These preferences lead to an increased attention to colored stimuli (Camgöz et al, 2004;Skulmowski et al, 2016). The perception of color can be described along three primary dimensions (Palmer et al, 2013): hue is characterized as the color's tone, brightness as the lightness of the color, whereas color saturation refers to the relative purity or intensity of the color (Valdez and Mehrabian, 1994; APA Dictionary of Psychology, 2020).…”

Section: Aesthetic Assessment and Color Saturationmentioning

confidence: 99%

“…Models of aesthetic perception (e.g., Leder et al, 2004;Pelowski et al, 2017) describe a rapid initial perceptual analysis during which we perceive, process, and perhaps integrate the surface properties of an image such as color into our general reactions (Seckler et al, 2015;Skulmowski et al, 2016). The color saturation of an artwork can be understood as a primary influencer of the initial and subsequent "continuous affective evaluation" inherent to processing art (Leder et al, 2004, p. 492) and thus often directly influencing final evaluations (Arnheim, 2000;Schloss and Palmer, 2011;Nascimento et al, 2017).…”

Section: Color Saturation and The Aesthetic Evaluation Of Artmentioning

confidence: 99%

“…Studies have shown that aesthetic judgments are made very quickly (Verhavert et al, 2018). Research on the aesthetics of websites has revealed that users evaluate the attractiveness of a website within the first 50 ms of encounter and that this rapid evaluation remains consistent over longer perception times (Lindgaard et al, 2006;Tuch et al, 2012;Skulmowski et al, 2016).…”

Section: Comparing Short Vs Long Viewing Timesmentioning

confidence: 99%

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Aesthetic Evaluation of Digitally Reproduced Art Images

et al. 2020

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Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time (100 ms vs. unrestricted viewing time) and expertise (art experts vs. laypersons), two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception (VIMAP)]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects (interest, confusion, surprise, and boredom), however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment.

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Section: Color Saturation In Digitized Imagescontrasting

confidence: 68%

Section: Aesthetic Assessment and Color Saturationmentioning

confidence: 99%

Section: Color Saturation and The Aesthetic Evaluation Of Artmentioning

confidence: 99%

Section: Comparing Short Vs Long Viewing Timesmentioning

confidence: 99%

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Aesthetic Evaluation of Digitally Reproduced Art Images

et al. 2020

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“…Variety was manipulated in both sets of web pages by changing the number of colours. When more colours were added to a web page, brightness and saturation were kept close to constant, as these are known to influence people's preferences as well (Lindgaard et al, 2011;Palmer and Schloss, 2010;Seckler et al, 2015), although see Skulmowski et al (2016) for an exception to this finding. In our low variety web pages (Colourfulness-1) only one colour was present besides the basic grey-scales.…”

Section: Symmetry X Colourfulnessmentioning

confidence: 99%

Unity in Variety in website aesthetics: A systematic inquiry

Post

Nguyen

Hekkert

2017

International Journal of Human-Computer Studies

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This research experimentally investigates whether Unity-in-Variety can account for the aesthetic appreciation of websites. In a first study we designed two sets of web pages, differing in layout style and content, to systematically and independently vary on both unity and variety via the design factors contrast and symmetry (for unity) and dissimilarity of elements and colourfulness (for variety). It was demonstrated that only the sets based on symmetry and colourfulness resulted in independent manipulations of unity and variety, respectively. These two sets of web pages were tested in Study 2 showing that, as predicted, both unity and variety independently and positively influence aesthetic appreciation. Following the principle of Unity-in-Variety, simultaneously maximizing unity and variety leads to an optimal balance where aesthetic appreciation is highest. Our research lends further support to the principle of Unity-in-Variety, extends it to the domain of HCI, and provides directions on how to purposefully design for an optimal balance between unity and variety.

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Less saturated, more eco‐friendly: Color saturation and consumer perception of product sustainability

Pichierri

Pino

2023

Psychology and Marketing

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Color saturation-the color's purity and intensity (also known as vividness)-is a visual feature that has been under-investigated in the context of green marketing. To advance knowledge of this topic, we performed five experimental studies to confirm that consumers tend to unconsciously associate low color saturation with a product's "gentler" impact on the environment. This perception of eco-friendliness, in turn, increases their trust in the product maker's greenness. Our research disentangles the direct and indirect impact (via consumers' perceptions of materials' naturalness, product authenticity, and product durability) of low-saturation colors on the perceived eco-friendliness of consumer products. Furthermore, the results reveal that, by fostering perceptions of eco-friendliness and green trust, such colors favorably influence consumers' behavioral intentions (i.e., their purchase intention and intention to pay a premium price for the product). Ultimately, the paper provides useful insights for companies and marketers interested in leveraging the meaning of color saturation to elicit perceptions of environmental compatibility.

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The negative impact of saturation on website trustworthiness and appeal: A temporal model of aesthetic website perception

Cited by 26 publications

References 38 publications

Aesthetic Evaluation of Digitally Reproduced Art Images

Aesthetic Evaluation of Digitally Reproduced Art Images

Unity in Variety in website aesthetics: A systematic inquiry

Less saturated, more eco‐friendly: Color saturation and consumer perception of product sustainability

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