Abstract
Observing paired colors with a different hue (in terms of chroma and lightness) engenders pleasantness from such harmonious combinations; however, negative reactions can emerge from disharmonious combinations. Currently, neural mechanisms underlying the esthetic and emotional aspects of color perception remain unknown. The current study reports evidence regarding the neural correlates of color harmony and disharmony. Functional magnetic resonance imaging was used to assess brain regions activated by harmonious or disharmonious color combinations in comparison to other stimuli. Results showed that the left medial orbitofrontal cortex (mOFC) and left amygdala were activated when participants observed harmonious and disharmonious stimuli, respectively. Taken together, these findings suggest that color disharmony may depend on stimulus properties and more automatic neural processes mediated by the amygdala, whereas color harmony is harder to discriminate based on color characteristics and is reflected by the esthetic value represented in the mOFC. This study has a limitation that we could not exclude the effect of preference for color combination, which has a strong positive correlation with color harmony.
Highlights
It is well established that individuals tend to gravitate toward harmonious color combinations as a source of general comfort
During the presentation of Harmony stimuli, the bilateral rostral anterior cingulate cortex and medial orbitofrontal cortex was significantly active, while the left amygdala and right posterior insula were significantly active during the presentation of Disharmony stimuli
To quantify the perceptual distance of two colors, we introduced five psychophysical indices: difference in lightness ( L∗), mean lightness, difference in chroma ( C∗), mean chroma, and difference in hue ( H∗) (Note: we avoided using mean hue since we determined it to be an unsuitable psychophysical index; for example, the mean hue of red and green is yellow)
Summary
It is well established that individuals tend to gravitate toward harmonious color combinations as a source of general comfort. This can be reflected in the clothing combinations we select, the interior décor we prefer, and so on. With the development of this system, all perceptible colors could be accommodated in a slightly distorted spherical solid. Based on this system, Moon and Spencer (1944) proposed identity, similarity, and contrast as three principles for color harmony, while Judd and Wyszecki (1963) proposed four principles of color theory including order, familiarity, similarity, and unambiguity. Both principles suggest that harmony is created when neighboring colors share similarities or contrast in hue
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