A review study of cognitive design research on colors from a visual psychological perspective

Abstract

This review study aims to explore the relationship between color psychology and cognitive design in various environments, with a focus on human perception and visual comfort. By analysing existing literature, we identify gaps and weaknesses in the research and suggest ways to improve the design of spaces such as hospitals, public libraries, and colleges using color application. The study reveals that the use of colors can significantly affect users' emotions, stress levels, and visual discomfort, and can create aesthetically pleasing environments. We also suggest that more research is needed to better understand the impact of colorful and interesting environments on human psychology and well-being. Overall, this study highlights the importance of considering human psychology in color application design and offers insights into how to enhance the nature of existing spaces through the use of color.

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*Corresponding Author: monicasingh.dtu@gmail.com
75
DOI: https://doi.org/10.52756/ijerr.2023.v30.009 Int. J. Exp. Res. Rev., Vol. 30: 75-86 (2023)
A review study of cognitive design research on colors from a visual psychological
perspective
Monica Singh1*, Ranganath Muttanna Singari2 and Mihir Bholey3
1,2Department of Design, Delhi Technological University, Delhi, India; 3National Institute of Design, Gandhi Nagar, India
E-mail/Orcid Id:
MS, monicasingh.dtu@gmail.com, https://orcid.org/0000-0003-4537-7648; RMS, ranganathdce@gmail.com,
https://orcid.org/0000-0003-4981-3857; MB, bholey.mihir@gmail.com, https://orcid.org/0000-0001-6702-9631
Introduction
Color-in-context hypothesis, which is based on social
development as well as biology, was developed by Elliot
and Maier (2012). Some reactions to color stimuli are
thought to result merely from the frequent association of
a certain color with specific ideas, messages, and
experiences (Agrawal et al., 2020; Cha et al., 2020;
Dehaene et al., 2022). Others, however, are thought to be
the result of a propensity that is ingrained in biology and
that is strengthened and modified by social learning.
Through social learning, color associations can be
expanded to include objects that are close to the body in
addition to normal physical functions (such blood flow
modulations).
In this review study, we aim to think about human
cognitive psychology perception through color
application design. We find some interface with design in
every aspect of our lives, and today, the creative industry
(creative economy), which includes the fields of
industrial design, arts and crafts, architecture, fashion,
advertising, music, etc., can be recognized as one of the
augmenting sectors in the world (Mohr et al., 2018; Ko,
2019; Rahimi-Mehr, 2021). For example, a well-designed
product that meets the real needs of the user, aimed at a
people-centred approach to problem-solving, only design
can play an important role in solving contemporary
global challenges (Griffin, 2017; Darma and Ningsih,
2019; Jonauskaite et al., 2020; Steiger et al., 2021).
The purpose of this review study is to explore how
color can influence people's cognitive and psychological
perception when it comes to design. Variety is an
important aspect of color in the planning of spaces. We
feel that a well-organized space can be made better by
using 'suitable' colors. The use of colors in spaces is a
complex matter that requires creativity and judgment and
often comes with experience (Elliot and Maier, 2014;
Kim and Lee, 2022). However, organized methodology
and advanced color schemes can lead to the successful
practice of colors. An understanding of the effects of
different standards of colors also leads to belief in the use
of variety practically speaking.
Methods
We reviewed fifty different publications that were all
connected to this field of study. Using keywords like
"cognitive design," "colors," and "visual psychological
Article History:
Received: 17th Feb., 2023
Accepted: 28th Mar., 2023
Published: 30th Apr., 2023
Abstract: This review study aims to explore the relationship between color psychology and
cognitive design in various environments, with a focus on human perception and visual
comfort. By analysing existing literature, we identify gaps and weaknesses in the research
and suggest ways to improve the design of spaces such as hospitals, public libraries, and
colleges using color application. The study reveals that the use of colors can significantly
affect users' emotions, stress levels, and visual discomfort, and can create aesthetically
pleasing environments. We also suggest that more research is needed to better understand
the impact of colorful and interesting environments on human psychology and well-being.
Overall, this study highlights the importance of considering human psychology in color
application design and offers insights into how to enhance the nature of existing spaces
through the use of color.
Keywords:
Cognitive design, colors,
color theory, user
experience, visual
psychological
perspective.

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perspective," a search was carried out in the electronic
databases provided by Google Scholar to look for
previously published articles.
Cognitive Design
Cognitive design theory has numerous possible
advantages for mental testing, assuming the hypothesis is
adequately evolved. To start with, Cognitive theory
permits the legitimacy of developments to be connected
to the cycles that are associated with exploratory
arrangements. The hypothesis expounds what the
exploratory upgrade means for the handling necessities of
the experimental task, which thus permits the test
designer to impact the development portrayal (Newell
and Simon, 1961). Second, the mental hypothesis
additionally permits the relationships of grades to be
perceived and controlled. In this manner, control of the
exploratory boosts ought to influence the ostensible
length of the preliminary also formation of portrayal
(Newell and Simon, 1961). Third, object improvement
turns into a logical cycle instead of an imaginative
interaction. Tests are created to address clear details that
influence handling. The exploratory designer turns into
an experimenter who plans undertakings to reflect
explicit parts of a guideline in the work. For certain
assignments, the determinations have become clear to the
point of involving man-made consciousness in trial
fabricating. Fourth, cognitive design can work on the
proficiency of test improvement. Better quality
experiments with additional definitively designated
hardships can be anticipated. Developing tests by
conclusions from speculation should yield better isolating
things in light of the fact that the thing helps that
influence irrelevant cycles can be cleared out. In this
way, precise try outs should achieve less thing wearing
out (Embretson and Gorin, 2001). Further, the specific
try-outs need integrate only things with the ideal
difficulty levels in light of the fact that the conclusions
also yield assumptions for thing inconvenience levels.
Despite these couple of advantages, in any case, test
designer have been postponed to apply mental
arrangement to testing. One tangle to applications may be
the shortfall of appropriate test improvement models.
That is, exploratory designer who have used standard
psychometric principles may not know how mental
arrangement guidelines can be coordinated into testing
strategies (Zhou et al., 2013; Wu et al., 2018).
Cognitive design is a subspace of the intelligent or
logical discipline ergonomics or human components
planning or designing. Cognitive design focuses on
mental or cognitive cycles, for instance, knowledge,
memory, and information dealing with, thinking and
engine response, as they impact associations among
individuals and various parts of a system (Hollnagel,
1997). features the targets of cognitive design are to
depict. What undertaking means for the psyche, as well
as, what the psyche means for a task. While playing out
an undertaking, the nature of work relies upon the
people's grasp of the circumstance (objectives, means,
and requirements). Thusly, the plan of a working
framework relies upon the mental model of the user,
specialist figures out the errand to a specific undertaking
setting. Cognitive design likewise centers on the
unwavering quality of execution and specifically the
dependability of perception.
Materialness of information on cognitive design in
various spaces of the human-focused plans is
conceivable. Setup-related fields in which usages of
cognitive design are huge consolidate accommodation
planning of structures, user experience plan or design,
human-computer interaction design (HCI), cooperation
plan past HCI, mechanical technology and man-made
reasoning plan, work framework, task configuration,
signage design, purchaser item or product design, close to
home item configuration, fashion and style design, visual
correspondence design, visual marketing, bundle or
packaging design, etc (Zhou et al., 2013) as shown table
1. To understand how the human mind processes
information, it is important to be aware of the various
stages and events involved in the cognitive process.
These include attention, sensation, perception, memory
encoding and retrieval, reasoning, and cognition (Faw,
2003; Tantanatewin, and Inkarojrit, 2018; Thorstenson et
al., 2018). These are all key elements in the way that the
human brain interprets and responds to information.
Understanding these stages can help us design interfaces
and systems that are more user-friendly and efficient for
human interaction.
Attention
To deal with or oversee mass measures of data coming
from climate, individuals require a specific concentration
(regard for attention) of a certain measure of data. The
transient store of memory is confined to a human. Thusly,
consideration is basic to picking information of interest
and for regulating monstrous proportions of information.
By and large, attention is ordinarily examined concerning
visual and hear-able faculties (Torres et al., 2022)
arranged consideration into three classifications: specific
consideration, centred consideration, and partitioned
consideration.

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Sensation
Sensation refers to the process of converting physical
stimuli that we receive from our environment, such as
light or sound, into mental impulses that our brain can
perceive and comprehend. This conversion process is
called transduction and occurs through specialized
receptors in our body such as those in our eyes, ears,
nose, tongue, and skin. Our body has five main senses -
vision, hearing, smell, taste, and touch - each of which
uses unique receptors to convert physical stimuli into
mental signals that our brain can interpret. The process
through which our body converts physical energy from
our environment into mental messages that we can
understand is fundamentally known as sensation (Faw,
2003) (Table 2).
Cognition is the arrangement of mental interaction
which happens between sensation, discernment
consciousness of sensation, and example,
acknowledgement and reaction. As such, cognition is the
psychological process fundamental to our capacity to see
the world, recall, discuss and gain from our encounters,
and change our way of behaving as needs are. Thusly,
each cognition interaction is utilized to change, decrease,
elaborate, store, recuperate, and utilization of tactile
information (Bailey, 1996). The idea and implications of
insight might be expressed according to viewpoints:
Grasping about objects or occasions or general climate,
Discernment and resulting acknowledgment of the
significance of objects, Thought or Thinking process,
Thinking or reasoning, and understanding, Initiator of
emotions.
Table 1. Lists different domains or areas of application for cognitive design, which include user
experience design, interaction design, robotics and artificial intelligence, and others, each with its
own unique focus and set of techniques and methodologies for designing products, systems, and
experiences that are optimized for human cognitive capabilities and needs
Cognitive design
User Experience Design
Work System and Task Design
Interaction Design
Fashion Design
Signage Design
Usability Engineering
Robotics Artificial Intelligence
Visual Communication
Retail Design
Consumer Product Design
Package Design
Emotional Product Design
Human-computer interaction (HCI)
Interior Design
Source: Hollnagel, 1997
Table 2. Lists the five senses and their corresponding sensory organs or receptors. The senses allow
humans to perceive and interpret the world around them, and the corresponding sensors detect and
transmit information to the brain, which then processes and interprets the sensory input.
Understanding the relationship between senses and their sensors is essential for developing
technologies and designs that optimize human sensory experiences.
Senses
Sensors
Vision
Retina
Audition
Cochlea
Smell
Olfactory bulb
Taste
Taste buds
Touch
Skin

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Memory
Memory is the capacity to hold data as mental
impressions in the cerebrum. Current ideas of memory
account for four various types of recollections: brief,
restricted, unpredictable transient memory, and extremely
durable long-haul recollections (Barnes and Olson, 1985)
indicated, memory doesn't go about as a unitary entire, it
is a progression of three separate elements: tangible
register, transient memory, and long haul memory. Short-
term sensory memory fills in as a passing assortment of
tangible information. As indicated by assumption, a
person has practically zero influence over tactile memory
but focuses better on an environmental channel. Short-
term memory is poor for monitoring data and is more
delicate or unpredictable than long-haul memory.
Individuals have some control over STM and can keep up
with data by gathering data, making things unmistakable,
and practicing (Barnes and Olson, 1985) gives details
about long-term memory which stores information in
semantic, visual, auditory, and unique forms. It has a vast
capacity and is relatively permanent. To effectively
manage long-term memory, humans encode information
with rich meanings, make connections between pieces of
information, and pay close attention to details that may
otherwise go unnoticed.
Reasoning
Reasoning can be characterized as the act of revelation
or plan through the activity of intelligent ideas.
Comprehension of human Reasoning design is critical to
making the framework plan more consistent and user-
focused. Laid-out models of thinking or independent
direction have been created using rationale. The
reasoning is additionally critical to cause impact
connections. For instance, if users or consumers select a
specific item with specific plan credits, creators might
presume that plan highlights are the justification for
determining that item. A short portrayal and illustration
of four various types of reasoning will make sense of how
humans put intelligent ideas into their practice (Faw,
2003).
Deduction
Deduction is a logical process that involves drawing a
conclusion from given premises. If the premises are true
and the deduction process is valid, the conclusion must
also be true. Therefore, deduction provides decisive proof
of the truth of its conclusion, given the truth of its
premises (Kennedy and Thornberg, 2018).
Induction
Induction is the most common way of making an
inferential determination from perceptions ordinarily, of
the structure that every one of them noticed individuals
from a class characterized by having property A have
property B. The exemplary model is that of establishing
that since all swans one has noticed are white that hence,
all swans are white (Kennedy and Thornberg, 2018).
Abduction
Abduction is a relatively recent form of reasoning that
involves inferring a likely explanation for a given
observation or phenomenon. Charles Sanders Peirce
coined the term "abduction" to describe the process of
forming a hypothesis based on the goal of the observed
phenomenon. For example, if one observes wet grass,
they may abduce the hypothesis that it rained recently, as
this is a likely explanation for the wetness of the grass
(Kennedy and Thornberg, 2018).
Innoduction
Innoduction involves making logical connections
between different categories or groups of things, such as
general properties or laws, in order to make predictions
about how new devices or products will behave. This is
particularly important for designers who need to
understand which product features will be useful to users
before incorporating them into the final product
(Kennedy and Thornberg, 2018).
Color
Color is the primary characteristic of visible light that
allows humans to distinguish between different types of
light. It is a subjective property, and cannot be
determined solely by measuring a specific physical
property of the light. Colors have always had a significant
Figure 1. The color wheel is a circular chart that
illustrates the relationships between primary,
secondary, and tertiary colors. It is commonly used in
design, art, and other creative fields to create
harmonious color schemes, and to help identify
complementary and analogous color combinations
(Adapted from Alfenas et al., 2019)

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impact on human emotions, moods, perceptions,
sensations, and cognition since they were recognized by
ancient civilizations such as the Indians, Chinese, and
Egyptians as a therapeutic substance.
Color theory and color wheel
A color wheel, which includes the colors red, yellow,
and blue, is commonly used in art and design. Sir Isaac
Newton first created a circular diagram of colors in 1666.
Since then, experts and designers have studied and
arranged different colors and shades of this concept.
There are varying opinions on the accuracy of one
arrangement over another, leading to on-going discussion
(Parkhurst and Feller, 1982). In reality, any color wheel
that presents a well-organized progression of pure tones
and hues has value, as can be seen in Figure 1.
Primary Colors
Blue, red, and yellow, in standard color theory,
Primary colors are the three colors that can't be mixed or
outlined by any blend of various colors. Any excess
colors are gotten from these three shades (Shah, 2021).
Secondary Colors
These are color blends made by the equivalent
combination of two essential colors. As per the
customary color wheel, red and yellow become orange,
red and blue become purple, and blue and yellow become
green. On the color wheel, optional colors are situated
between essential colors (Shah, 2021).
Tertiary Colors
The mix of primary and secondary colors become
tertiary or moderate colors, because of their compound
nature. Blue-violet, blue-green, red-violet, red-orange,
yellow-green, and yellow-orange are color blends we can
make from color blending (Shah, 2021).
Color Harmony
Color harmony in visual experiences refers to a
pleasing arrangement of elements that creates a sense of
balance and appeal to the viewer. This can include using
color, shape, and composition to create a cohesive and
visually satisfying image. When there is a lack of
harmony, the result can be uninteresting, confusing,
disorganized, and overwhelming to the viewer. The
human brain seeks out and responds positively to visual
experiences that are well-organized and easy to
understand while rejecting those that are confusing or
overwhelming. To create a visually pleasing experience,
it is important to consider using color, composition, and
other elements to create a sense of harmony and visual
interest (Odabaşıoğlu and Olguntürk, 2020).
Six types of color harmonies are given below:
Complementary colors
Complementary colors are pairs of colors that are
located opposite each other on the color wheel. These
colors can be employed by artists and designers to
produce a composition that is both visually appealing and
well-balanced. When complementary colors are
combined, they can make each other appear more vibrant
and can be mixed to create a neutral color that is pleasing
to the eye (Pridmore, 2021), as shown in figure 3.
Split-complementary
Split-complementary is a color conspire in which one
essential color and two optional colors are utilized.
Rather than utilizing a reciprocal color, two colors put
evenly around it on the color wheel are utilized. The main
Understanding Primary, Secondary, and Tertiary Colors in Color Theory
From the figure 2 below, we can understand the primary, secondary and tertiary colors.
Figure 2. The primary colors are red, blue, and yellow. These colors are considered primary because
they cannot be created by mixing other colors together. They are the building blocks of all other
colors (Adapted from Shah, 2021)

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color is the primary one and should be used as the
foundation, while additional colors can be used for
highlighting specific features or accents. This is
illustrated in figure 4.
Analogous colors
Analogous colors are gatherings of three colors that
are close to one another on the colors wheel tertiary. For
example, green, green/blue, blue, and blue/violet, as
given below in Figure 5. The word adjust means to be
undifferentiated from, or to adjust to, something specific.
This one-color uniform design makes a rich,
monochromatic impact.
Triadic color
One dominant color, with the other two evenly spaced
colors serving as accents termed as triadic color. Triadic
colors stand out from one another and make for a vibrant,
lively color palette regardless of which particular colors
are used. For example, blue, yellow, and red which are
shown below in the figure 6. Harmony of these colors has
the tenacity to look vibrant. To be effective, this trick
color harmony proves to be well-balanced for an artist
and a designer (Hu et al., 2014)
Tetradic color
Tetradic color harmony is a set of complementary
colors where we get to see the use of a combination of
four colors, which are complementary colors, these colors
form a rectangular shape on the color wheel. It has one
base color and three other colors, which are equal to the
base color. For citation, their colors are purple, yellow,
red-orange and blue-green (Hu et al., 2014), shown in
figure 7.
Figure 3. Complementary colors
are pairs of colors that are opposite
each other on the color wheel, such
as red and green, blue and orange,
or yellow and purple. When used
together, complementary colors
create high contrast and can make
each other appear more vibrant
(Adapted from Pridmore, 2021)
Figure 4. Split-complementary
colors are a variation of
complementary colors that use a
base color and the two colors
adjacent to its complement. For
example, if the base color is blue,
the split-complementary colors
would be yellow-orange and red-
orange (Adapted from Pridmore,
2021)
Figure 5. Analogous colors are
colors that are next to each other
on the color wheel, such as red,
orange, and yellow or blue, green,
and yellow-green. Analogous color
schemes create a sense of harmony
and can be pleasing to the eye
(Adapted from Pridmore, 2021)
Figure 6. Triadic color:
Refers to a color scheme
that uses three colors that
are evenly spaced on the
color wheel, creating a
vibrant and balanced
contrast between them
(Adapted from Hu et al.,
2014)
Figure 7. Tetradic color:
Refers to a color scheme
that uses four colors,
consisting of two
complementary pairs,
creating a high-contrast
and complex composition
(Adapted from Hu et al.,
2014)
Figure 8.
Monochromatic color
harmony: Refers to a
color scheme that uses
different shades, tints,
and tones of the same
color, creating a
harmonious and serene
effect (Adapted from Hu
et al., 2014)
Figure 9. Hue: Refers to a
property of color that
distinguishes one color
from another, based on its
position on the color wheel,
ranging from red to violet,
with all hues having a
different wavelength and
saturation (Adapted from
Hu et al., 2014)

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Monochromatic color harmony
Monochromatic color harmony colors use shades,
shades, and tones of the same color. It can be other colors
and shades derived from the same color family. The
colors for the example as shown in figure 8.
Monochromatic color harmony involves integrating
colors, tones and shades of a similar color family with
greys, whites as well as blacks to add depth and variation
(Hu et al., 2014).
Hue
Hue an equivalent word for color. Red, for instance, is
a different shade in comparison to blue, yellow, orange,
and so on (Hu et al., 2014), as shown in figure 9.
Tint
Color is a combination of a color with white, which
increments softness, while a shade is a blend with dark,
which increments haziness (Kholmuratovich et al., 2020)
as shown in figure 10.
Shade
Color is a combination of a any color with white,
which increments gentility, while a shade is a blend with
dark, which increments dimness or darkness. The two
cycles influence the subsequent color combination's
relative saturation or immersion (Kholmuratovich et al.,
2020) as shown in figure 11.
Tone
Tone is a shade or combination of unadulterated
colors to which just unadulterated grey is added
(equivalent measures of highly contrasting). Adding grey
to a color will make the power a lot duller. Be careful
with blending an excess of grey into a shade as it can
become over-dulled and, for all intents and purposes,
difficult to reestablish the splendor (Sakai and Nayatani,
2007) as shown in figure 12.
Full Chroma
The most outrageous tones are found on the outside
edge or edge of the color wheel (Sakai and Nayatani,
2007) as shown in figure 13.
Chroma
Chroma refers to the purity or saturation of a color. It
is a measure of how distinct a color is compared to its
closest neighbor on the color wheel. Chroma can also be
referred to as immersion or color intensity (Guilford,
1934), as shown in figure 14.
Complementary Colors
Colors that converse with each other on the color
wheel. Blending two correlative colors produce tones. An
equivalent combination of two full chroma supplements
produces centre grey (Guilford, 1934), as shown in figure
15.
Value
The value, likewise called delicacy or radiance of a
color is a proportion of how light or dim a color is while
its shade is held steady. The gentility of an item relies
upon the reflectance of that object (Meier et al., 2004) as
shown in figure 16.
Saturation
Saturation is the property that recognizes red from
pink. It is said to depict the “purity” of the color (Meier et
al., 2004) as shown in figure 17.
Figure 10. Tint is a color that has been lightened by
adding white to it, resulting in a pastel-like hue that
is less saturated than the original color (Adapted
from Kholmuratovich et al., 2020)
Figure 11. Shade is a color that has been darkened
by adding black to it, resulting in a deeper, more
muted tone that is less vibrant than the original
color (Adapted from Kholmuratovich et al., 2020)
Figure 12. Depicts a color's tone or brightness
level, which is an essential aspect of color theory
(Adaptad from Sakai and Nayatani, 2007)
Figure 13. Illustrates the full chroma or
saturation of a color, which refers to its intensity
or purity (Sakai and Nayatani, 2007)

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Halation
A visual deception of color or potential esteem
radiances is delivered when a combination of two values
or colors is set between and nearby its folks (Plutino et
al., 2022) as shown in figure 18.
Vanishing
The vanishing limit portrays the visual peculiarity
where two colors of equivalent value and comparative
tone are viewed as solitary when seen from a predefined
distance. This third tone colors up more iridescent than
both of the tints in another unique circumstance (Plutino
et al., 2022) as shown in figure 19.
Color psychology is the study of how colors affect
human behavior and emotions. It is closely related to
cognitive design, which uses psychological and
neuroscientific principles in the design of technology,
environments, user interface and products. Together,
color psychology and cognitive design can be used to
create effective and engaging user experiences. Popular
opinion abounds on the nature of colors, their affiliations,
and their perceived effects on our emotions, aesthetic
judgments, and beyond. A lot of logical examination has
been finished on numerous parts of color. Still,
surprisingly, there is no nearly powerful, advanced study
on the final products of color discernment on
psychological working or functioning in people (Elliot
and Maier, 2014). To understand how the effects of color
work on human psychology, we can see in figure 20 that
when a colored light or light reflects on a colored surface
or object and falls on our eyes after our brain generates
some emotions and feelings about that colour how color
psychology.
Figure 14. Chroma refers to the intensity, purity,
or saturation of a color. In color theory, a color's
chroma can be altered by adding white, black,
gray, or another hue (Adapted from Guilford,
1934)
Figure 15. Complementary colors are pairs of
colors that are opposite each other on the color
wheel. When placed together, they create a
high-contrast, vibrant effect, and can be used to
create visual interest and balance in a
composition (Adapted from Guilford, 1934)
Figure 16. Likely displays a range of colors
arranged by their values from lightest to darkest.
In color theory, value refers to the relative
lightness or darkness of a color, with white being
the lightest value and black being the darkest value
(Adapted from Manav, B. 2007)
Figure 17. May display a range of colors with
varying levels of saturation, with highly
saturated colors on one end and desaturated
colors on the other. Saturation, on the other
hand, refers to the intensity or purity of a color,
with highly saturated colors appearing bright
and vivid, and desaturated colors appearing
more muted (Adapted from Manav, B. 2007)
Figure 18. Halation is a visual phenomenon that
occurs when a bright color seems to bleed or glow
around its edges, causing it to appear larger or more
diffuse than it actually is (Adapted from Plutino et
al., 2022)
Figure 19. Vanishing, also known as desaturation,
is the gradual fading of a color towards a neutral
gray, eventually disappearing altogether as it
approaches absolute black or white (Adapted from
Plutino et al., 2022)

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Figure 20. Color psychology showing light source,
psychological perception, and proper color (Adapted
from Li and Shi, 2014)
(a) Blue: Transmits a sense of positivity, confidence,
calm, and security. It is often used in commercial and
trade, such as financial organizations and workplaces.
(b) Yellow: It is often utilized in business spots or
eateries to draw the consideration of pedestrians as
portends optimism, curiosity, enlightenment, sunshine,
and creativity. (c) Red Color: This color represents
energy, enthusiasm, and impulsiveness. Hence, it is
routinely utilized in business places, such as stores or fast
food outlets, as it depicts a certain imperative and desire
of the consumer (d) Orange: The consequence of a blend
of yellow and red, orange oozes a thought of force,
innovativeness, excitement, and warmth. It is often
utilized in imaginative conditions, like workplaces,
studios, and schools. When used with the color blue, it
conveys impulsiveness and the ability to believe and is
thus adopted by banking organizations and workplaces.
The application of color in space to human psychology
evolved from the health theory of ancient India, which
could invigorate the body's inward energy by utilizing
color to accomplish the motivation behind changing and
keeping a good overall arrangement.
Particularly if the use of interior and exterior paint in
the medical field can create positive psychological
feelings when patients enter hospitals, which help to
reduce discomfort in the space (Li et al., 2014). The
consequences of present-day scientific exploration show
that the psychological framework is shaped mostly by the
view of an outside picture by the visual perception
arrangement of individuals. As everybody knows, color
has three essential components: purity, hue, and lightness
(Li et al., 2014). These three elements have different
effects on psychology, so which color components affect
the mental feelings of individuals in the public sphere,
which needs to be studied properly. Patients are often
more stressed out in public spaces than in medical spaces,
so colors that demonstrate exhausting and negative
responsiveness are normal to numerous public are not
satisfactory to utilize. For instance, albeit a lighter shade
of white might achieve a spotless inclination in
individuals, it can make a feeling of misery when the
clinical field takes on white to apply to a bigger region of
the clinical field). However, organized methodology and
advanced color schemes can lead to the successful use of
colors (Takahashi and Kawabata, 2018; Takei and
Imaizumi, 2022) argues that just as one would not begin
building construction without construction drawings and
plans, similarly, one should not begin working on colors
in spaces without careful planning.
Discussion
This study has observed that the relationship between
color and instinctive place and the psychological
understanding of people in coping with many life
challenges has not been properly studied. It shows that
very few authors have expressed the techniques being
promoted for "fitness of the mind and feeling comfortable
in the environment". But research between color
psychology and visual comfort, providing an aesthetically
pleasing environment for users using colors in public
spaces, has not been studied as per the requirement of
present days. It has also been observed that colorful and
interesting environments reduce negative emotions and
stress levels and increase visual comfort not studied in
detail at the level of Men, Women, and Children of
different places /groups. A study also needs to show the
use of colors and environments to treat human behavioral
disturbances, feelings of anxiety, and restlessness in the
space environment. This study was made with the view of
the following four points:
 The relationship between color and instinctive place and
the psychological understanding of people in coping
with many life challenges
 The techniques being promoted for "fitness of the mind
and feeling comfortable in the environment".
 Colorful and interesting environments work to reduce
negative emotions and stress levels and increase visual
comfort at the level of Men, Women, and Children of
different places /groups.
 The use of colors and environments to treat human
behavioral disturbances, feelings of anxiety, and
restlessness in the space environment.

Int. J. Exp. Res. Rev., Vol. 30: 75-86 (2023)
DOI: https://doi.org/10.52756/ijerr.2023.v30.009
84
Conclusions
The relationship between color and instinctive place
and the psychological understanding of people in coping
with many life challenges has not been properly studied.
It is thus necessary to triangulate the evidence to uncover
the relationship between behavioral components from
color applications in existing space. Several techniques
are being promoted for the fitness of the mind and feeling
comfortable in the environment. Although there are gaps
and weaknesses in the research between color psychology
and visual comfort, it is possible to provide an
aesthetically pleasing environment for users by using
colors in places such as hospitals, public libraries,
colleges, etc. By planning the color application design in
this way, we can reduce people's restlessness, behaviour
stress, anxiety, and visual discomfort. Children know less
about structures, yet they comprehend all the colored
objects more without any problem. This implies that
establishing conditions with fitting colors in children's
healthcare or schools environment is particularly
significant. Such an environment shouldn't simply be
fascinating to the children yet ought to likewise be made
on their scale as children frequently experience dread and
fatigue in many spots. Colorful and fascinating
environments work to diminish pessimistic feelings and
anxiety and increment visual solace which is yet to be
appropriately considered. Numerous literature reviews
indicate that drugs and psychotherapy have been used to
treat human behavioral disturbances, feelings of anxiety,
and restlessness in the space environment. But the use of
colors has less to do with non-pharmacological practices
that benefit people with stress-related behaviors and who
feel uncomfortable in environments because of the visual
effects. Therefore, there is a need to enhance the nature of
the environment through color application in the existing
space.
Conflict of interest
None
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How to cite this Article:
Monica Singh, Ranganath Muttanna Singari and Mihir Bholey (2023). A review study of cognitive design research on colors from a
visual psychological perspective. International Journal of Experimental Research and Review, 30, 75-86.
DOI : https://doi.org/10.52756/ijerr.2023.v30.009