Part II. Colour Psychological Properties
7. Colour Psychology
The idea of emotion as closely linked to colour appears throughout many explorations of colour psychology. In Part II of this essay I will look at how colour psychology – which i interpret at the study of hues as a determinant of human behaviour – has proven poignant throughout decades. I will use this to argue my claim that there are colour psychological properties intrinsic to colours that cause a response of specific emotions in the observer. I have previous explored why I find the metaphysical status of colours to be best explained through the idea of response-dependence, and claimed that colours are properties in objects that illicit certain responses in us when they are observed. I will now explore the history of colour psychology through different schools of thought, and conclude that what I find to be so notable about colour psychology is how difficult it is to deny in the face of empirical evidence. This allows me to defend the position of response-dependence further, and secure the idea of the existence of colour psychological properties. Evidence for this notion comes from Nicolson’s spectrum of hues and values which underlies the fact that surface colours possess several characteristics apart from the hue, tone and saturation which have usually been held to define the parameters of colour as perceived (Dacre 1944).
Although believed to be outdated by modern thinkers, Goethe’s Theory of Colours (Zur Farbenlehre) provides a basis of colour psychology that has been followed for decades. A section of this book focuses on ‘The Effect of Colour with Reference to Moral Associations’, therefore showing Goethe to be concerned with the qualities of how phenomena are perceived. He postulated that:
“General impressions produced by single colours cannot be changed, that hey act specifically, and must produce definite, specific states in the living organ” (Goethe 1840, pp.305)
Goethe shows himself to be following the theory that it is a priori knowable that for a colour to look a certain way, it must evoke a certain influence and response in the mind. Where Goethe finds that this knowledge comes from experiencing the colours repeatedly, I find that there is a property intrinsic to the colours that must evoke the certain responses. Goethe gives detailed explanations of the responses brought about by different colours in his work, claiming that colours on the ‘plus side’ such as yellow, red-yellow and yellow-red cause quick, lively and aspiring reactions. Alternatively, the colours on the ‘minus-side’ of blue, red-blue and blue-red produce restlessness and provide an anxious impression. This demonstrates a universality to the responses evoked by colours that I agree with.
8. Phenomenology: evidence via sensations
The phenomenology – what it is like – of having an experience of colour highlights this relationship between the perceiver and the perceived. I find that the phenomenology of experiencing colours provides evidence for the fact that there exists colour psychological properties intrinsic to colours that evoke emotional reactions in us. This is particular poignant in art, as obvious in the Impressionists where they evoke excitement due to bright hues, and Picasso’s Blue Period, which brings a certain sadness from the saturated tones. There is something that it is like to look at Brodsky’s Speech by Lenin before the Red Army which is not felt when looking at Matisse’s Nu Bleu.
For the sake of brevity in this essay I have focused by attention on the colour red, as I find that it is one of the most universally evocative colours cross culturally. I will discuss this so long as it remained constructive to my thesis. The reasoning for finding red to be the most prevalent colour in the field of colour psychology comes from the thoughts of several writers. Goethe claims that dark red conveys an impression of gravity and dignity, and light red evokes grace and attractiveness. He explains that more common associations of red are of dominance and power, hence why red is seen as a sexual and romantic colour (Goethe 1840, pp.306). Where Goethe sees red as representing specific emotions, Van Wagner simply shows the power and passion that comes in association with the colour:
“Red is a bright, warm colour that evokes strong emotions; red is also considered an intense, or even angry colour that creates feelings of excitement or intensity” (O’Connor 2015)
Logan-Clark and Appleby further support this idea of red as a powerful colour in claiming that:
“Red is the colour for courage, strength, and pioneering spirit… It is the colour of anger, violence and brutality” (O’Connor 2015)
Therefore, in much of the literature surrounding the notion of colour psychology there is the idea that red is an incredibly evocative colour, as it is used in different religions, cultures and artwork as one of the most symbolic colours. Let us return to discussing the phenomenology of the colour red.
9. Empirical Evidence: evidence via data
It is not only through the phenomenology that I previously mentioned that we can explore if red intensifies emotions and passions. I also find that it is through experience, observation and reflection that we can answer this question. Support for this claim comes from Strawson in finding that:
“Colour words are words for properties which are of such a kind that their whole and essential nature as properties can be and is fully revealed in sensory-quality experience given only the qualitative character that the experience has” (Strawson 1989, pp.224)
Therefore, I am able to explore empirical evidence – the sensory-quality experience – to find reasoning for the theory that red intensified emotions and patterns. It is evident through physiological experimentation and data collection of human reactions to different coloured lights that there is some response evoked when colours are viewed. It is also clear here that red elicits reactions that other colours, in this case blue as it is the contrasting colour, do not. I will come to this disparity later.
A foundational piece of evidence to begin exploring my claim that colours effect human responses is that light influences the human circadian rhythm – physical, mental, and behavioral changes that follow a daily cycle (National Institute of General Medical Sciences). If exposure to light is enough to change a biological pattern in us, then there are grounds to believe that colour exposure could do the same. O’Connor furthers this notion. She finds that light is able to effect the human neuroendocrine system, suppress melatonin and increase the production of cortisol – the hormone which aids the metabolism of fat, protein and carbohydrates. Therefore we are able to believe that light can influence psychological, physiological and behavioural actions.
Now I am able to look at the effects of red light, and red colour samples on the same actions. Rewell finds that red light stimulated adrenaline, raised blood pressure, the heart rate and respiration in patients – all aspects that occur alongside feelings of emotion and passion. Kopacz supports this as:
“Red is believed to sensitise the taste buds and sense of smell, increasing the appetite… all this occurs because the heart rate instinctively quickens, which causes a release of adrenaline into the bloodstream, raising blood pressure and stimulating the nerves” (O’Connor 2015, pp.76)
This is a clear physiological response to the colour red that is grounded in sound empirical evidence. Ou explores the different psychophysiological scaling methods used to collect this data, citing skin conductance, electroencephalographic responses (EEG) and heart rate monitors. This shows that there is statistical evidence to provide that red has an effect on us when we view it. Further evidence appears when we compare the responses to red light to the responses to blue light as:
“The sight of the colour blue causes the body to release tranquillising hormones when it is surveyed” and “Many believe (blue) can lower blood pressure, slow the pulse rate and decrease body temperature (O’Connor 2015, pp.79)