emotional responses to color and nonverbal a thesis …
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EMOTIONAL RESPONSES TO COLOR AND NONVERBAL
LANGUAGE A SURVEY OF EMOTIONAL RESPONSES
TO COLOR SWATCHES AND HUMAN POSES
by
KATHARINE ANN NEREAUX STOUT BGS
A THESIS
IN
ART EDUCATION
Submitted to the Graduate Faculty
of Texas Tech University in Partial Fulfillment of the Requirements for
the Degree of
MASTER OF ART EDUCATION
ACKNOWLEDGEMENTS
I want to express my gratitude to my husband John without whom I would never
have started this program His moral emotional and financial support has been endless I
would also like to mention my parents Marlin Jand Alberta M Nereaux who stressed the
importance of education to their children Thanks go to my mother-in-law Louise Stout
without whom I would not have gotten my batchelor degree and therefore been unable to
progress further
Many thanks go to my committee Dr Dennis Fehr and Dr John Stinespring for
technical assistance and long-distance emotional support I want to express a special
thanks to Dr Karen Keifer Boyd for the many hours of her caring and professional
expertise that she dedicates to her students (this one in particular)
u
TABLE OF CONTENTS
ACKNOWLEDGEMENTS ii
LIST OF TABLES v
LIST OF FIGURES vii
CHAPTER
I INTRODUCTION 1
Specific Research Questions and Hypothesis 3
Significance of Study 4
II COLOR AND BODY LANGUAGE LITERATURE REVIEW 6
Introduction 6
Theoretical Framework 6
Summary 38
III DESIGN AND METHODOLOGY 40
Design Introduction 40
Subjects 41
Instrumentation 43
IV DATA ANALYSIS 47
Procedure 47
Color Analysis 53
Human Pose Analysis 75
Summary 89
ni
V CONCLUSION 96
BIBLIOGRAPHY 98
APPENDIXES
A EMOTIONS SURVEY 101
B SUBJECT RELEASE FORM 116
C CONTACT ORGANIZATIONS 117
D EXCEL CHI-SQUARE TABLES 119
IV
LIST OF TABLES
21 Mellas Present Feelings Response Table 15
22 Mellas Most Powerful Emotions Response Table 16
23 Givens Moods Associations and Emotions Table 19
24 Feisners Moods Associations and Emotions Table 20
41 Exact Tallies of Color Responses 48
42 Exact Tallies of Human Pose Response 49
43 Chi-Square Formulation Table 51
44 Chi-Square Critical Values 52
45 Orange Response Tallies 56
46 Red Response Tallies 58
47 Green Response Tallies 61
48 Yellow Response Tallies 64
49 Purple Response Tallies 64
410 Blue Response Talhes 67
411 Neutrals Response Tallies 70
412 Black and White Response Tallies 73
413 Poses 1-8 77
414 Poses 9-16 81
415 Poses 17-24 86
416 Poses 25-32 90
417 Correlation Between Colors and Body Language Through Emotions 93
Dl Color JJ9
D2 Human Poses 22^
VI
LIST OF FIGURES
21 The Munsell Tree 13
41 Apricot
49 Sap Green
411 Lune Green
413 YeUow
414 Lavender
416 Light Blue
417 Dark Blue
418 Blue-Green
57
42 Burnt Orange 57
43 Orange 57
44 Pink 59
45 Red 59
46 Dark Red 59
47 Magenta 59
48 Mint Green 62
62
410 Dark Green 62
62
412 Light Yellow 65
65
65
415 Dark Purple 65
68
68
68
419 Gold 71
420 Brown 71
vu
421 Gray 71
422 Black 74
423 White 74
424 Pose 1 78
425 Pose 2 78
426 Pose 3 78
427 Pose 4 78
428 Pose 5 79
429 Pose 6 79
430 Pose 7 79
431 Pose 8 79
432 Pose 9 82
433 Pose 10 82
434 Pose 11 82
435 Pose 12 82
436 Pose 13 83
437 Pose 14 83
438 Pose 15 83
439 Pose 16 83
440 Pose 17 87
441 Pose 18 87
Vll l
442
443
444
445
446
447
448
449
450
451
452
453
454
455
Pose 19
Pose 20
Pose 21
Pose 22
Pose 23
Pose 24
Pose 25
Pose 26
Pose 27
Pose 28
Pose 29
Pose 30
Pose 31
Pose 32
87
87
87
87
87
87
91
91
91
91
92
92
92
92
IX
CHAPTER 1
INTRODUCTION
In this survey of more than five hundred participants 1 aspired to obtain a better
understandmg of viewer emotive response to colors and body language to provide artists
and art educators perspectives on (a) the use of body language as a figurative
compositional tool to affect the emotional interpretation of a painting and (b) use of
color to elicit a specific emotional response harmonious with the figurative message and
saturation temperature and value variations with color The psychological and technical
tenets of color and body language are reviewed in the literature review as such principles
play a part (consciously or subconciously) in the process through which the respondent
and the artist make decisions While not every person can respond the same to every
color 1 beheve that patterns did emerge some of which are culturally influenced Every
color showed a response pattern with one or more showing significant response ratios I
believe that I did find patterns in the responses to body language that show a connection
between emotions and specific movements human poses and gestures Every pose
showed significant response ratios for one or more emotions This understanding can
help artists to better communicate and elicit emotional responses in their paintings I
limited the study to survey only people who have resided in the United States for at least
seventeen years and range in age from seventeen to eighty-eight years old since this
group represents a cross-section of mature viewers with many culturally shared
perceptions of emotion color and body language While they may come from different
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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49
In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
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108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
BIBLIOGRAPHY
Aggett L (1995) Capturme Light m Pastel Newton Abbot England David amp Charles Books
Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
Dothan J (1997) Body language whhout the body situating social cues in the virtual world httpduploxwzdedocpaneljudhhhtml
Ekman P (1999) Basic Emotions In T Dalgleish and M Power (Eds) Handbook of Cognition and Emotion Sussex UK John Wiley and Sons Ltd
Ekman P (Editor)(1998) Charles Darwins The Expression of the Emotions hi Man and Animals Thhd Edition whh Introduction Afterwords and Commentaries by Paul Ekman London Harper Collins
Ekman P and Rosenberg E (1997) What the Face Reveals Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System New York New York Oxford Univershy Press
Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
Ekman P (1993) Facial expression of emotion American Psychologist 48 384-392 Ekman P and Scherer K (1982) Handbook of Methods m Nonverbal Behavior Research New York New York Cambridge Univershy Press
98
Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
99
Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
I l r j i r p k k mi cmution hc]ltn i b j l lhlaquo cnlni v i u i i t tn Ihr i iftht rliril i ltbull gtngfr bull lui^irn lt csgtr x^^raquo^claquo ~ s0fi1CTltigtpi dcpicssior lt
dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
Ptctir pKk Mt cmiXMB tirlcrvi ilijt tlic calar squart (ti ihr i irlit diribi lt mucr r no-raquot-rgt lt caIn noiplaquogtit-raquoi lt~ ionii-iiij Jipieiiior T
tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
Plmi r piltk an cmitiuH In-law ilial U K fii4iir ltlaquoqii3iL In Ilir i^ riinU
f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
Hf(laquor pick Ml eracKion htlo-M llial H K fn4igtr vquai t (n Ihi- i^lit HiflK ltbull anijcr nnicr wi ln ^ L-vdnpRiii-M-i lt~ siXitfnipi bull cllaquoprcijiO
d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
Pieitie p k k M I efBiMMa bclcm lliat tlK tnlor Miuir i U iht- i irlii rJk iU
I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
PERMISSION TO COPY
In presentmg this thesis in paittal fulfillment of the requhements for a masters
degree at Texas Tech University or Texas Tech University Health Sciences Center I
agree that the Library and my major department shaU make it freely avaUable for
research purposes Permission to copy this thesis for scholarly purposes may be
granted by the Dhector of the Library or my major professor It is understood that
any copymg or publication of this thesis for financial gam shaU not be aUowed
without my further written permission and that any user may be liable for copyright
infringement
ACKNOWLEDGEMENTS
I want to express my gratitude to my husband John without whom I would never
have started this program His moral emotional and financial support has been endless I
would also like to mention my parents Marlin Jand Alberta M Nereaux who stressed the
importance of education to their children Thanks go to my mother-in-law Louise Stout
without whom I would not have gotten my batchelor degree and therefore been unable to
progress further
Many thanks go to my committee Dr Dennis Fehr and Dr John Stinespring for
technical assistance and long-distance emotional support I want to express a special
thanks to Dr Karen Keifer Boyd for the many hours of her caring and professional
expertise that she dedicates to her students (this one in particular)
u
TABLE OF CONTENTS
ACKNOWLEDGEMENTS ii
LIST OF TABLES v
LIST OF FIGURES vii
CHAPTER
I INTRODUCTION 1
Specific Research Questions and Hypothesis 3
Significance of Study 4
II COLOR AND BODY LANGUAGE LITERATURE REVIEW 6
Introduction 6
Theoretical Framework 6
Summary 38
III DESIGN AND METHODOLOGY 40
Design Introduction 40
Subjects 41
Instrumentation 43
IV DATA ANALYSIS 47
Procedure 47
Color Analysis 53
Human Pose Analysis 75
Summary 89
ni
V CONCLUSION 96
BIBLIOGRAPHY 98
APPENDIXES
A EMOTIONS SURVEY 101
B SUBJECT RELEASE FORM 116
C CONTACT ORGANIZATIONS 117
D EXCEL CHI-SQUARE TABLES 119
IV
LIST OF TABLES
21 Mellas Present Feelings Response Table 15
22 Mellas Most Powerful Emotions Response Table 16
23 Givens Moods Associations and Emotions Table 19
24 Feisners Moods Associations and Emotions Table 20
41 Exact Tallies of Color Responses 48
42 Exact Tallies of Human Pose Response 49
43 Chi-Square Formulation Table 51
44 Chi-Square Critical Values 52
45 Orange Response Tallies 56
46 Red Response Tallies 58
47 Green Response Tallies 61
48 Yellow Response Tallies 64
49 Purple Response Tallies 64
410 Blue Response Talhes 67
411 Neutrals Response Tallies 70
412 Black and White Response Tallies 73
413 Poses 1-8 77
414 Poses 9-16 81
415 Poses 17-24 86
416 Poses 25-32 90
417 Correlation Between Colors and Body Language Through Emotions 93
Dl Color JJ9
D2 Human Poses 22^
VI
LIST OF FIGURES
21 The Munsell Tree 13
41 Apricot
49 Sap Green
411 Lune Green
413 YeUow
414 Lavender
416 Light Blue
417 Dark Blue
418 Blue-Green
57
42 Burnt Orange 57
43 Orange 57
44 Pink 59
45 Red 59
46 Dark Red 59
47 Magenta 59
48 Mint Green 62
62
410 Dark Green 62
62
412 Light Yellow 65
65
65
415 Dark Purple 65
68
68
68
419 Gold 71
420 Brown 71
vu
421 Gray 71
422 Black 74
423 White 74
424 Pose 1 78
425 Pose 2 78
426 Pose 3 78
427 Pose 4 78
428 Pose 5 79
429 Pose 6 79
430 Pose 7 79
431 Pose 8 79
432 Pose 9 82
433 Pose 10 82
434 Pose 11 82
435 Pose 12 82
436 Pose 13 83
437 Pose 14 83
438 Pose 15 83
439 Pose 16 83
440 Pose 17 87
441 Pose 18 87
Vll l
442
443
444
445
446
447
448
449
450
451
452
453
454
455
Pose 19
Pose 20
Pose 21
Pose 22
Pose 23
Pose 24
Pose 25
Pose 26
Pose 27
Pose 28
Pose 29
Pose 30
Pose 31
Pose 32
87
87
87
87
87
87
91
91
91
91
92
92
92
92
IX
CHAPTER 1
INTRODUCTION
In this survey of more than five hundred participants 1 aspired to obtain a better
understandmg of viewer emotive response to colors and body language to provide artists
and art educators perspectives on (a) the use of body language as a figurative
compositional tool to affect the emotional interpretation of a painting and (b) use of
color to elicit a specific emotional response harmonious with the figurative message and
saturation temperature and value variations with color The psychological and technical
tenets of color and body language are reviewed in the literature review as such principles
play a part (consciously or subconciously) in the process through which the respondent
and the artist make decisions While not every person can respond the same to every
color 1 beheve that patterns did emerge some of which are culturally influenced Every
color showed a response pattern with one or more showing significant response ratios I
believe that I did find patterns in the responses to body language that show a connection
between emotions and specific movements human poses and gestures Every pose
showed significant response ratios for one or more emotions This understanding can
help artists to better communicate and elicit emotional responses in their paintings I
limited the study to survey only people who have resided in the United States for at least
seventeen years and range in age from seventeen to eighty-eight years old since this
group represents a cross-section of mature viewers with many culturally shared
perceptions of emotion color and body language While they may come from different
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
0 22
108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
BIBLIOGRAPHY
Aggett L (1995) Capturme Light m Pastel Newton Abbot England David amp Charles Books
Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
Dothan J (1997) Body language whhout the body situating social cues in the virtual world httpduploxwzdedocpaneljudhhhtml
Ekman P (1999) Basic Emotions In T Dalgleish and M Power (Eds) Handbook of Cognition and Emotion Sussex UK John Wiley and Sons Ltd
Ekman P (Editor)(1998) Charles Darwins The Expression of the Emotions hi Man and Animals Thhd Edition whh Introduction Afterwords and Commentaries by Paul Ekman London Harper Collins
Ekman P and Rosenberg E (1997) What the Face Reveals Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System New York New York Oxford Univershy Press
Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
Ekman P (1993) Facial expression of emotion American Psychologist 48 384-392 Ekman P and Scherer K (1982) Handbook of Methods m Nonverbal Behavior Research New York New York Cambridge Univershy Press
98
Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
99
Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
I l r j i r p k k mi cmution hc]ltn i b j l lhlaquo cnlni v i u i i t tn Ihr i iftht rliril i ltbull gtngfr bull lui^irn lt csgtr x^^raquo^claquo ~ s0fi1CTltigtpi dcpicssior lt
dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
Ptctir pKk Mt cmiXMB tirlcrvi ilijt tlic calar squart (ti ihr i irlit diribi lt mucr r no-raquot-rgt lt caIn noiplaquogtit-raquoi lt~ ionii-iiij Jipieiiior T
tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
Plmi r piltk an cmitiuH In-law ilial U K fii4iir ltlaquoqii3iL In Ilir i^ riinU
f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
Hf(laquor pick Ml eracKion htlo-M llial H K fn4igtr vquai t (n Ihi- i^lit HiflK ltbull anijcr nnicr wi ln ^ L-vdnpRiii-M-i lt~ siXitfnipi bull cllaquoprcijiO
d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
Pieitie p k k M I efBiMMa bclcm lliat tlK tnlor Miuir i U iht- i irlii rJk iU
I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
PERMISSION TO COPY
In presentmg this thesis in paittal fulfillment of the requhements for a masters
degree at Texas Tech University or Texas Tech University Health Sciences Center I
agree that the Library and my major department shaU make it freely avaUable for
research purposes Permission to copy this thesis for scholarly purposes may be
granted by the Dhector of the Library or my major professor It is understood that
any copymg or publication of this thesis for financial gam shaU not be aUowed
without my further written permission and that any user may be liable for copyright
infringement
TABLE OF CONTENTS
ACKNOWLEDGEMENTS ii
LIST OF TABLES v
LIST OF FIGURES vii
CHAPTER
I INTRODUCTION 1
Specific Research Questions and Hypothesis 3
Significance of Study 4
II COLOR AND BODY LANGUAGE LITERATURE REVIEW 6
Introduction 6
Theoretical Framework 6
Summary 38
III DESIGN AND METHODOLOGY 40
Design Introduction 40
Subjects 41
Instrumentation 43
IV DATA ANALYSIS 47
Procedure 47
Color Analysis 53
Human Pose Analysis 75
Summary 89
ni
V CONCLUSION 96
BIBLIOGRAPHY 98
APPENDIXES
A EMOTIONS SURVEY 101
B SUBJECT RELEASE FORM 116
C CONTACT ORGANIZATIONS 117
D EXCEL CHI-SQUARE TABLES 119
IV
LIST OF TABLES
21 Mellas Present Feelings Response Table 15
22 Mellas Most Powerful Emotions Response Table 16
23 Givens Moods Associations and Emotions Table 19
24 Feisners Moods Associations and Emotions Table 20
41 Exact Tallies of Color Responses 48
42 Exact Tallies of Human Pose Response 49
43 Chi-Square Formulation Table 51
44 Chi-Square Critical Values 52
45 Orange Response Tallies 56
46 Red Response Tallies 58
47 Green Response Tallies 61
48 Yellow Response Tallies 64
49 Purple Response Tallies 64
410 Blue Response Talhes 67
411 Neutrals Response Tallies 70
412 Black and White Response Tallies 73
413 Poses 1-8 77
414 Poses 9-16 81
415 Poses 17-24 86
416 Poses 25-32 90
417 Correlation Between Colors and Body Language Through Emotions 93
Dl Color JJ9
D2 Human Poses 22^
VI
LIST OF FIGURES
21 The Munsell Tree 13
41 Apricot
49 Sap Green
411 Lune Green
413 YeUow
414 Lavender
416 Light Blue
417 Dark Blue
418 Blue-Green
57
42 Burnt Orange 57
43 Orange 57
44 Pink 59
45 Red 59
46 Dark Red 59
47 Magenta 59
48 Mint Green 62
62
410 Dark Green 62
62
412 Light Yellow 65
65
65
415 Dark Purple 65
68
68
68
419 Gold 71
420 Brown 71
vu
421 Gray 71
422 Black 74
423 White 74
424 Pose 1 78
425 Pose 2 78
426 Pose 3 78
427 Pose 4 78
428 Pose 5 79
429 Pose 6 79
430 Pose 7 79
431 Pose 8 79
432 Pose 9 82
433 Pose 10 82
434 Pose 11 82
435 Pose 12 82
436 Pose 13 83
437 Pose 14 83
438 Pose 15 83
439 Pose 16 83
440 Pose 17 87
441 Pose 18 87
Vll l
442
443
444
445
446
447
448
449
450
451
452
453
454
455
Pose 19
Pose 20
Pose 21
Pose 22
Pose 23
Pose 24
Pose 25
Pose 26
Pose 27
Pose 28
Pose 29
Pose 30
Pose 31
Pose 32
87
87
87
87
87
87
91
91
91
91
92
92
92
92
IX
CHAPTER 1
INTRODUCTION
In this survey of more than five hundred participants 1 aspired to obtain a better
understandmg of viewer emotive response to colors and body language to provide artists
and art educators perspectives on (a) the use of body language as a figurative
compositional tool to affect the emotional interpretation of a painting and (b) use of
color to elicit a specific emotional response harmonious with the figurative message and
saturation temperature and value variations with color The psychological and technical
tenets of color and body language are reviewed in the literature review as such principles
play a part (consciously or subconciously) in the process through which the respondent
and the artist make decisions While not every person can respond the same to every
color 1 beheve that patterns did emerge some of which are culturally influenced Every
color showed a response pattern with one or more showing significant response ratios I
believe that I did find patterns in the responses to body language that show a connection
between emotions and specific movements human poses and gestures Every pose
showed significant response ratios for one or more emotions This understanding can
help artists to better communicate and elicit emotional responses in their paintings I
limited the study to survey only people who have resided in the United States for at least
seventeen years and range in age from seventeen to eighty-eight years old since this
group represents a cross-section of mature viewers with many culturally shared
perceptions of emotion color and body language While they may come from different
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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49
In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
0 22
108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
BIBLIOGRAPHY
Aggett L (1995) Capturme Light m Pastel Newton Abbot England David amp Charles Books
Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
Dothan J (1997) Body language whhout the body situating social cues in the virtual world httpduploxwzdedocpaneljudhhhtml
Ekman P (1999) Basic Emotions In T Dalgleish and M Power (Eds) Handbook of Cognition and Emotion Sussex UK John Wiley and Sons Ltd
Ekman P (Editor)(1998) Charles Darwins The Expression of the Emotions hi Man and Animals Thhd Edition whh Introduction Afterwords and Commentaries by Paul Ekman London Harper Collins
Ekman P and Rosenberg E (1997) What the Face Reveals Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System New York New York Oxford Univershy Press
Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
Ekman P (1993) Facial expression of emotion American Psychologist 48 384-392 Ekman P and Scherer K (1982) Handbook of Methods m Nonverbal Behavior Research New York New York Cambridge Univershy Press
98
Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
99
Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
I l r j i r p k k mi cmution hc]ltn i b j l lhlaquo cnlni v i u i i t tn Ihr i iftht rliril i ltbull gtngfr bull lui^irn lt csgtr x^^raquo^claquo ~ s0fi1CTltigtpi dcpicssior lt
dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
Ptctir pKk Mt cmiXMB tirlcrvi ilijt tlic calar squart (ti ihr i irlit diribi lt mucr r no-raquot-rgt lt caIn noiplaquogtit-raquoi lt~ ionii-iiij Jipieiiior T
tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
Plmi r piltk an cmitiuH In-law ilial U K fii4iir ltlaquoqii3iL In Ilir i^ riinU
f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
Hf(laquor pick Ml eracKion htlo-M llial H K fn4igtr vquai t (n Ihi- i^lit HiflK ltbull anijcr nnicr wi ln ^ L-vdnpRiii-M-i lt~ siXitfnipi bull cllaquoprcijiO
d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
Pieitie p k k M I efBiMMa bclcm lliat tlK tnlor Miuir i U iht- i irlii rJk iU
I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
PERMISSION TO COPY
In presentmg this thesis in paittal fulfillment of the requhements for a masters
degree at Texas Tech University or Texas Tech University Health Sciences Center I
agree that the Library and my major department shaU make it freely avaUable for
research purposes Permission to copy this thesis for scholarly purposes may be
granted by the Dhector of the Library or my major professor It is understood that
any copymg or publication of this thesis for financial gam shaU not be aUowed
without my further written permission and that any user may be liable for copyright
infringement
V CONCLUSION 96
BIBLIOGRAPHY 98
APPENDIXES
A EMOTIONS SURVEY 101
B SUBJECT RELEASE FORM 116
C CONTACT ORGANIZATIONS 117
D EXCEL CHI-SQUARE TABLES 119
IV
LIST OF TABLES
21 Mellas Present Feelings Response Table 15
22 Mellas Most Powerful Emotions Response Table 16
23 Givens Moods Associations and Emotions Table 19
24 Feisners Moods Associations and Emotions Table 20
41 Exact Tallies of Color Responses 48
42 Exact Tallies of Human Pose Response 49
43 Chi-Square Formulation Table 51
44 Chi-Square Critical Values 52
45 Orange Response Tallies 56
46 Red Response Tallies 58
47 Green Response Tallies 61
48 Yellow Response Tallies 64
49 Purple Response Tallies 64
410 Blue Response Talhes 67
411 Neutrals Response Tallies 70
412 Black and White Response Tallies 73
413 Poses 1-8 77
414 Poses 9-16 81
415 Poses 17-24 86
416 Poses 25-32 90
417 Correlation Between Colors and Body Language Through Emotions 93
Dl Color JJ9
D2 Human Poses 22^
VI
LIST OF FIGURES
21 The Munsell Tree 13
41 Apricot
49 Sap Green
411 Lune Green
413 YeUow
414 Lavender
416 Light Blue
417 Dark Blue
418 Blue-Green
57
42 Burnt Orange 57
43 Orange 57
44 Pink 59
45 Red 59
46 Dark Red 59
47 Magenta 59
48 Mint Green 62
62
410 Dark Green 62
62
412 Light Yellow 65
65
65
415 Dark Purple 65
68
68
68
419 Gold 71
420 Brown 71
vu
421 Gray 71
422 Black 74
423 White 74
424 Pose 1 78
425 Pose 2 78
426 Pose 3 78
427 Pose 4 78
428 Pose 5 79
429 Pose 6 79
430 Pose 7 79
431 Pose 8 79
432 Pose 9 82
433 Pose 10 82
434 Pose 11 82
435 Pose 12 82
436 Pose 13 83
437 Pose 14 83
438 Pose 15 83
439 Pose 16 83
440 Pose 17 87
441 Pose 18 87
Vll l
442
443
444
445
446
447
448
449
450
451
452
453
454
455
Pose 19
Pose 20
Pose 21
Pose 22
Pose 23
Pose 24
Pose 25
Pose 26
Pose 27
Pose 28
Pose 29
Pose 30
Pose 31
Pose 32
87
87
87
87
87
87
91
91
91
91
92
92
92
92
IX
CHAPTER 1
INTRODUCTION
In this survey of more than five hundred participants 1 aspired to obtain a better
understandmg of viewer emotive response to colors and body language to provide artists
and art educators perspectives on (a) the use of body language as a figurative
compositional tool to affect the emotional interpretation of a painting and (b) use of
color to elicit a specific emotional response harmonious with the figurative message and
saturation temperature and value variations with color The psychological and technical
tenets of color and body language are reviewed in the literature review as such principles
play a part (consciously or subconciously) in the process through which the respondent
and the artist make decisions While not every person can respond the same to every
color 1 beheve that patterns did emerge some of which are culturally influenced Every
color showed a response pattern with one or more showing significant response ratios I
believe that I did find patterns in the responses to body language that show a connection
between emotions and specific movements human poses and gestures Every pose
showed significant response ratios for one or more emotions This understanding can
help artists to better communicate and elicit emotional responses in their paintings I
limited the study to survey only people who have resided in the United States for at least
seventeen years and range in age from seventeen to eighty-eight years old since this
group represents a cross-section of mature viewers with many culturally shared
perceptions of emotion color and body language While they may come from different
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
0 22
108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
BIBLIOGRAPHY
Aggett L (1995) Capturme Light m Pastel Newton Abbot England David amp Charles Books
Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
Dothan J (1997) Body language whhout the body situating social cues in the virtual world httpduploxwzdedocpaneljudhhhtml
Ekman P (1999) Basic Emotions In T Dalgleish and M Power (Eds) Handbook of Cognition and Emotion Sussex UK John Wiley and Sons Ltd
Ekman P (Editor)(1998) Charles Darwins The Expression of the Emotions hi Man and Animals Thhd Edition whh Introduction Afterwords and Commentaries by Paul Ekman London Harper Collins
Ekman P and Rosenberg E (1997) What the Face Reveals Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System New York New York Oxford Univershy Press
Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
Ekman P (1993) Facial expression of emotion American Psychologist 48 384-392 Ekman P and Scherer K (1982) Handbook of Methods m Nonverbal Behavior Research New York New York Cambridge Univershy Press
98
Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
99
Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
I l r j i r p k k mi cmution hc]ltn i b j l lhlaquo cnlni v i u i i t tn Ihr i iftht rliril i ltbull gtngfr bull lui^irn lt csgtr x^^raquo^claquo ~ s0fi1CTltigtpi dcpicssior lt
dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
Ptctir pKk Mt cmiXMB tirlcrvi ilijt tlic calar squart (ti ihr i irlit diribi lt mucr r no-raquot-rgt lt caIn noiplaquogtit-raquoi lt~ ionii-iiij Jipieiiior T
tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
Plmi r piltk an cmitiuH In-law ilial U K fii4iir ltlaquoqii3iL In Ilir i^ riinU
f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
Hf(laquor pick Ml eracKion htlo-M llial H K fn4igtr vquai t (n Ihi- i^lit HiflK ltbull anijcr nnicr wi ln ^ L-vdnpRiii-M-i lt~ siXitfnipi bull cllaquoprcijiO
d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
Pieitie p k k M I efBiMMa bclcm lliat tlK tnlor Miuir i U iht- i irlii rJk iU
I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
PERMISSION TO COPY
In presentmg this thesis in paittal fulfillment of the requhements for a masters
degree at Texas Tech University or Texas Tech University Health Sciences Center I
agree that the Library and my major department shaU make it freely avaUable for
research purposes Permission to copy this thesis for scholarly purposes may be
granted by the Dhector of the Library or my major professor It is understood that
any copymg or publication of this thesis for financial gam shaU not be aUowed
without my further written permission and that any user may be liable for copyright
infringement
LIST OF TABLES
21 Mellas Present Feelings Response Table 15
22 Mellas Most Powerful Emotions Response Table 16
23 Givens Moods Associations and Emotions Table 19
24 Feisners Moods Associations and Emotions Table 20
41 Exact Tallies of Color Responses 48
42 Exact Tallies of Human Pose Response 49
43 Chi-Square Formulation Table 51
44 Chi-Square Critical Values 52
45 Orange Response Tallies 56
46 Red Response Tallies 58
47 Green Response Tallies 61
48 Yellow Response Tallies 64
49 Purple Response Tallies 64
410 Blue Response Talhes 67
411 Neutrals Response Tallies 70
412 Black and White Response Tallies 73
413 Poses 1-8 77
414 Poses 9-16 81
415 Poses 17-24 86
416 Poses 25-32 90
417 Correlation Between Colors and Body Language Through Emotions 93
Dl Color JJ9
D2 Human Poses 22^
VI
LIST OF FIGURES
21 The Munsell Tree 13
41 Apricot
49 Sap Green
411 Lune Green
413 YeUow
414 Lavender
416 Light Blue
417 Dark Blue
418 Blue-Green
57
42 Burnt Orange 57
43 Orange 57
44 Pink 59
45 Red 59
46 Dark Red 59
47 Magenta 59
48 Mint Green 62
62
410 Dark Green 62
62
412 Light Yellow 65
65
65
415 Dark Purple 65
68
68
68
419 Gold 71
420 Brown 71
vu
421 Gray 71
422 Black 74
423 White 74
424 Pose 1 78
425 Pose 2 78
426 Pose 3 78
427 Pose 4 78
428 Pose 5 79
429 Pose 6 79
430 Pose 7 79
431 Pose 8 79
432 Pose 9 82
433 Pose 10 82
434 Pose 11 82
435 Pose 12 82
436 Pose 13 83
437 Pose 14 83
438 Pose 15 83
439 Pose 16 83
440 Pose 17 87
441 Pose 18 87
Vll l
442
443
444
445
446
447
448
449
450
451
452
453
454
455
Pose 19
Pose 20
Pose 21
Pose 22
Pose 23
Pose 24
Pose 25
Pose 26
Pose 27
Pose 28
Pose 29
Pose 30
Pose 31
Pose 32
87
87
87
87
87
87
91
91
91
91
92
92
92
92
IX
CHAPTER 1
INTRODUCTION
In this survey of more than five hundred participants 1 aspired to obtain a better
understandmg of viewer emotive response to colors and body language to provide artists
and art educators perspectives on (a) the use of body language as a figurative
compositional tool to affect the emotional interpretation of a painting and (b) use of
color to elicit a specific emotional response harmonious with the figurative message and
saturation temperature and value variations with color The psychological and technical
tenets of color and body language are reviewed in the literature review as such principles
play a part (consciously or subconciously) in the process through which the respondent
and the artist make decisions While not every person can respond the same to every
color 1 beheve that patterns did emerge some of which are culturally influenced Every
color showed a response pattern with one or more showing significant response ratios I
believe that I did find patterns in the responses to body language that show a connection
between emotions and specific movements human poses and gestures Every pose
showed significant response ratios for one or more emotions This understanding can
help artists to better communicate and elicit emotional responses in their paintings I
limited the study to survey only people who have resided in the United States for at least
seventeen years and range in age from seventeen to eighty-eight years old since this
group represents a cross-section of mature viewers with many culturally shared
perceptions of emotion color and body language While they may come from different
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
0 22
108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
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Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
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Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
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Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
99
Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
I l r j i r p k k mi cmution hc]ltn i b j l lhlaquo cnlni v i u i i t tn Ihr i iftht rliril i ltbull gtngfr bull lui^irn lt csgtr x^^raquo^claquo ~ s0fi1CTltigtpi dcpicssior lt
dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
Ptctir pKk Mt cmiXMB tirlcrvi ilijt tlic calar squart (ti ihr i irlit diribi lt mucr r no-raquot-rgt lt caIn noiplaquogtit-raquoi lt~ ionii-iiij Jipieiiior T
tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
Plmi r piltk an cmitiuH In-law ilial U K fii4iir ltlaquoqii3iL In Ilir i^ riinU
f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
Hf(laquor pick Ml eracKion htlo-M llial H K fn4igtr vquai t (n Ihi- i^lit HiflK ltbull anijcr nnicr wi ln ^ L-vdnpRiii-M-i lt~ siXitfnipi bull cllaquoprcijiO
d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
Pieitie p k k M I efBiMMa bclcm lliat tlK tnlor Miuir i U iht- i irlii rJk iU
I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
PERMISSION TO COPY
In presentmg this thesis in paittal fulfillment of the requhements for a masters
degree at Texas Tech University or Texas Tech University Health Sciences Center I
agree that the Library and my major department shaU make it freely avaUable for
research purposes Permission to copy this thesis for scholarly purposes may be
granted by the Dhector of the Library or my major professor It is understood that
any copymg or publication of this thesis for financial gam shaU not be aUowed
without my further written permission and that any user may be liable for copyright
infringement
Dl Color JJ9
D2 Human Poses 22^
VI
LIST OF FIGURES
21 The Munsell Tree 13
41 Apricot
49 Sap Green
411 Lune Green
413 YeUow
414 Lavender
416 Light Blue
417 Dark Blue
418 Blue-Green
57
42 Burnt Orange 57
43 Orange 57
44 Pink 59
45 Red 59
46 Dark Red 59
47 Magenta 59
48 Mint Green 62
62
410 Dark Green 62
62
412 Light Yellow 65
65
65
415 Dark Purple 65
68
68
68
419 Gold 71
420 Brown 71
vu
421 Gray 71
422 Black 74
423 White 74
424 Pose 1 78
425 Pose 2 78
426 Pose 3 78
427 Pose 4 78
428 Pose 5 79
429 Pose 6 79
430 Pose 7 79
431 Pose 8 79
432 Pose 9 82
433 Pose 10 82
434 Pose 11 82
435 Pose 12 82
436 Pose 13 83
437 Pose 14 83
438 Pose 15 83
439 Pose 16 83
440 Pose 17 87
441 Pose 18 87
Vll l
442
443
444
445
446
447
448
449
450
451
452
453
454
455
Pose 19
Pose 20
Pose 21
Pose 22
Pose 23
Pose 24
Pose 25
Pose 26
Pose 27
Pose 28
Pose 29
Pose 30
Pose 31
Pose 32
87
87
87
87
87
87
91
91
91
91
92
92
92
92
IX
CHAPTER 1
INTRODUCTION
In this survey of more than five hundred participants 1 aspired to obtain a better
understandmg of viewer emotive response to colors and body language to provide artists
and art educators perspectives on (a) the use of body language as a figurative
compositional tool to affect the emotional interpretation of a painting and (b) use of
color to elicit a specific emotional response harmonious with the figurative message and
saturation temperature and value variations with color The psychological and technical
tenets of color and body language are reviewed in the literature review as such principles
play a part (consciously or subconciously) in the process through which the respondent
and the artist make decisions While not every person can respond the same to every
color 1 beheve that patterns did emerge some of which are culturally influenced Every
color showed a response pattern with one or more showing significant response ratios I
believe that I did find patterns in the responses to body language that show a connection
between emotions and specific movements human poses and gestures Every pose
showed significant response ratios for one or more emotions This understanding can
help artists to better communicate and elicit emotional responses in their paintings I
limited the study to survey only people who have resided in the United States for at least
seventeen years and range in age from seventeen to eighty-eight years old since this
group represents a cross-section of mature viewers with many culturally shared
perceptions of emotion color and body language While they may come from different
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
0 22
108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
BIBLIOGRAPHY
Aggett L (1995) Capturme Light m Pastel Newton Abbot England David amp Charles Books
Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
Dothan J (1997) Body language whhout the body situating social cues in the virtual world httpduploxwzdedocpaneljudhhhtml
Ekman P (1999) Basic Emotions In T Dalgleish and M Power (Eds) Handbook of Cognition and Emotion Sussex UK John Wiley and Sons Ltd
Ekman P (Editor)(1998) Charles Darwins The Expression of the Emotions hi Man and Animals Thhd Edition whh Introduction Afterwords and Commentaries by Paul Ekman London Harper Collins
Ekman P and Rosenberg E (1997) What the Face Reveals Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System New York New York Oxford Univershy Press
Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
Ekman P (1993) Facial expression of emotion American Psychologist 48 384-392 Ekman P and Scherer K (1982) Handbook of Methods m Nonverbal Behavior Research New York New York Cambridge Univershy Press
98
Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
99
Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
I l r j i r p k k mi cmution hc]ltn i b j l lhlaquo cnlni v i u i i t tn Ihr i iftht rliril i ltbull gtngfr bull lui^irn lt csgtr x^^raquo^claquo ~ s0fi1CTltigtpi dcpicssior lt
dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
Ptctir pKk Mt cmiXMB tirlcrvi ilijt tlic calar squart (ti ihr i irlit diribi lt mucr r no-raquot-rgt lt caIn noiplaquogtit-raquoi lt~ ionii-iiij Jipieiiior T
tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
Plmi r piltk an cmitiuH In-law ilial U K fii4iir ltlaquoqii3iL In Ilir i^ riinU
f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
Hf(laquor pick Ml eracKion htlo-M llial H K fn4igtr vquai t (n Ihi- i^lit HiflK ltbull anijcr nnicr wi ln ^ L-vdnpRiii-M-i lt~ siXitfnipi bull cllaquoprcijiO
d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
Pieitie p k k M I efBiMMa bclcm lliat tlK tnlor Miuir i U iht- i irlii rJk iU
I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
PERMISSION TO COPY
In presentmg this thesis in paittal fulfillment of the requhements for a masters
degree at Texas Tech University or Texas Tech University Health Sciences Center I
agree that the Library and my major department shaU make it freely avaUable for
research purposes Permission to copy this thesis for scholarly purposes may be
granted by the Dhector of the Library or my major professor It is understood that
any copymg or publication of this thesis for financial gam shaU not be aUowed
without my further written permission and that any user may be liable for copyright
infringement
LIST OF FIGURES
21 The Munsell Tree 13
41 Apricot
49 Sap Green
411 Lune Green
413 YeUow
414 Lavender
416 Light Blue
417 Dark Blue
418 Blue-Green
57
42 Burnt Orange 57
43 Orange 57
44 Pink 59
45 Red 59
46 Dark Red 59
47 Magenta 59
48 Mint Green 62
62
410 Dark Green 62
62
412 Light Yellow 65
65
65
415 Dark Purple 65
68
68
68
419 Gold 71
420 Brown 71
vu
421 Gray 71
422 Black 74
423 White 74
424 Pose 1 78
425 Pose 2 78
426 Pose 3 78
427 Pose 4 78
428 Pose 5 79
429 Pose 6 79
430 Pose 7 79
431 Pose 8 79
432 Pose 9 82
433 Pose 10 82
434 Pose 11 82
435 Pose 12 82
436 Pose 13 83
437 Pose 14 83
438 Pose 15 83
439 Pose 16 83
440 Pose 17 87
441 Pose 18 87
Vll l
442
443
444
445
446
447
448
449
450
451
452
453
454
455
Pose 19
Pose 20
Pose 21
Pose 22
Pose 23
Pose 24
Pose 25
Pose 26
Pose 27
Pose 28
Pose 29
Pose 30
Pose 31
Pose 32
87
87
87
87
87
87
91
91
91
91
92
92
92
92
IX
CHAPTER 1
INTRODUCTION
In this survey of more than five hundred participants 1 aspired to obtain a better
understandmg of viewer emotive response to colors and body language to provide artists
and art educators perspectives on (a) the use of body language as a figurative
compositional tool to affect the emotional interpretation of a painting and (b) use of
color to elicit a specific emotional response harmonious with the figurative message and
saturation temperature and value variations with color The psychological and technical
tenets of color and body language are reviewed in the literature review as such principles
play a part (consciously or subconciously) in the process through which the respondent
and the artist make decisions While not every person can respond the same to every
color 1 beheve that patterns did emerge some of which are culturally influenced Every
color showed a response pattern with one or more showing significant response ratios I
believe that I did find patterns in the responses to body language that show a connection
between emotions and specific movements human poses and gestures Every pose
showed significant response ratios for one or more emotions This understanding can
help artists to better communicate and elicit emotional responses in their paintings I
limited the study to survey only people who have resided in the United States for at least
seventeen years and range in age from seventeen to eighty-eight years old since this
group represents a cross-section of mature viewers with many culturally shared
perceptions of emotion color and body language While they may come from different
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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49
In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
0 22
108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
BIBLIOGRAPHY
Aggett L (1995) Capturme Light m Pastel Newton Abbot England David amp Charles Books
Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
Dothan J (1997) Body language whhout the body situating social cues in the virtual world httpduploxwzdedocpaneljudhhhtml
Ekman P (1999) Basic Emotions In T Dalgleish and M Power (Eds) Handbook of Cognition and Emotion Sussex UK John Wiley and Sons Ltd
Ekman P (Editor)(1998) Charles Darwins The Expression of the Emotions hi Man and Animals Thhd Edition whh Introduction Afterwords and Commentaries by Paul Ekman London Harper Collins
Ekman P and Rosenberg E (1997) What the Face Reveals Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System New York New York Oxford Univershy Press
Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
Ekman P (1993) Facial expression of emotion American Psychologist 48 384-392 Ekman P and Scherer K (1982) Handbook of Methods m Nonverbal Behavior Research New York New York Cambridge Univershy Press
98
Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
99
Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
I l r j i r p k k mi cmution hc]ltn i b j l lhlaquo cnlni v i u i i t tn Ihr i iftht rliril i ltbull gtngfr bull lui^irn lt csgtr x^^raquo^claquo ~ s0fi1CTltigtpi dcpicssior lt
dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
Ptctir pKk Mt cmiXMB tirlcrvi ilijt tlic calar squart (ti ihr i irlit diribi lt mucr r no-raquot-rgt lt caIn noiplaquogtit-raquoi lt~ ionii-iiij Jipieiiior T
tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
Plmi r piltk an cmitiuH In-law ilial U K fii4iir ltlaquoqii3iL In Ilir i^ riinU
f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
Hf(laquor pick Ml eracKion htlo-M llial H K fn4igtr vquai t (n Ihi- i^lit HiflK ltbull anijcr nnicr wi ln ^ L-vdnpRiii-M-i lt~ siXitfnipi bull cllaquoprcijiO
d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
Pieitie p k k M I efBiMMa bclcm lliat tlK tnlor Miuir i U iht- i irlii rJk iU
I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
PERMISSION TO COPY
In presentmg this thesis in paittal fulfillment of the requhements for a masters
degree at Texas Tech University or Texas Tech University Health Sciences Center I
agree that the Library and my major department shaU make it freely avaUable for
research purposes Permission to copy this thesis for scholarly purposes may be
granted by the Dhector of the Library or my major professor It is understood that
any copymg or publication of this thesis for financial gam shaU not be aUowed
without my further written permission and that any user may be liable for copyright
infringement
421 Gray 71
422 Black 74
423 White 74
424 Pose 1 78
425 Pose 2 78
426 Pose 3 78
427 Pose 4 78
428 Pose 5 79
429 Pose 6 79
430 Pose 7 79
431 Pose 8 79
432 Pose 9 82
433 Pose 10 82
434 Pose 11 82
435 Pose 12 82
436 Pose 13 83
437 Pose 14 83
438 Pose 15 83
439 Pose 16 83
440 Pose 17 87
441 Pose 18 87
Vll l
442
443
444
445
446
447
448
449
450
451
452
453
454
455
Pose 19
Pose 20
Pose 21
Pose 22
Pose 23
Pose 24
Pose 25
Pose 26
Pose 27
Pose 28
Pose 29
Pose 30
Pose 31
Pose 32
87
87
87
87
87
87
91
91
91
91
92
92
92
92
IX
CHAPTER 1
INTRODUCTION
In this survey of more than five hundred participants 1 aspired to obtain a better
understandmg of viewer emotive response to colors and body language to provide artists
and art educators perspectives on (a) the use of body language as a figurative
compositional tool to affect the emotional interpretation of a painting and (b) use of
color to elicit a specific emotional response harmonious with the figurative message and
saturation temperature and value variations with color The psychological and technical
tenets of color and body language are reviewed in the literature review as such principles
play a part (consciously or subconciously) in the process through which the respondent
and the artist make decisions While not every person can respond the same to every
color 1 beheve that patterns did emerge some of which are culturally influenced Every
color showed a response pattern with one or more showing significant response ratios I
believe that I did find patterns in the responses to body language that show a connection
between emotions and specific movements human poses and gestures Every pose
showed significant response ratios for one or more emotions This understanding can
help artists to better communicate and elicit emotional responses in their paintings I
limited the study to survey only people who have resided in the United States for at least
seventeen years and range in age from seventeen to eighty-eight years old since this
group represents a cross-section of mature viewers with many culturally shared
perceptions of emotion color and body language While they may come from different
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
0 22
108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
BIBLIOGRAPHY
Aggett L (1995) Capturme Light m Pastel Newton Abbot England David amp Charles Books
Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
Dothan J (1997) Body language whhout the body situating social cues in the virtual world httpduploxwzdedocpaneljudhhhtml
Ekman P (1999) Basic Emotions In T Dalgleish and M Power (Eds) Handbook of Cognition and Emotion Sussex UK John Wiley and Sons Ltd
Ekman P (Editor)(1998) Charles Darwins The Expression of the Emotions hi Man and Animals Thhd Edition whh Introduction Afterwords and Commentaries by Paul Ekman London Harper Collins
Ekman P and Rosenberg E (1997) What the Face Reveals Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System New York New York Oxford Univershy Press
Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
Ekman P (1993) Facial expression of emotion American Psychologist 48 384-392 Ekman P and Scherer K (1982) Handbook of Methods m Nonverbal Behavior Research New York New York Cambridge Univershy Press
98
Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
99
Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
I l r j i r p k k mi cmution hc]ltn i b j l lhlaquo cnlni v i u i i t tn Ihr i iftht rliril i ltbull gtngfr bull lui^irn lt csgtr x^^raquo^claquo ~ s0fi1CTltigtpi dcpicssior lt
dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
Ptctir pKk Mt cmiXMB tirlcrvi ilijt tlic calar squart (ti ihr i irlit diribi lt mucr r no-raquot-rgt lt caIn noiplaquogtit-raquoi lt~ ionii-iiij Jipieiiior T
tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
Plmi r piltk an cmitiuH In-law ilial U K fii4iir ltlaquoqii3iL In Ilir i^ riinU
f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
Hf(laquor pick Ml eracKion htlo-M llial H K fn4igtr vquai t (n Ihi- i^lit HiflK ltbull anijcr nnicr wi ln ^ L-vdnpRiii-M-i lt~ siXitfnipi bull cllaquoprcijiO
d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
Pieitie p k k M I efBiMMa bclcm lliat tlK tnlor Miuir i U iht- i irlii rJk iU
I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
PERMISSION TO COPY
In presentmg this thesis in paittal fulfillment of the requhements for a masters
degree at Texas Tech University or Texas Tech University Health Sciences Center I
agree that the Library and my major department shaU make it freely avaUable for
research purposes Permission to copy this thesis for scholarly purposes may be
granted by the Dhector of the Library or my major professor It is understood that
any copymg or publication of this thesis for financial gam shaU not be aUowed
without my further written permission and that any user may be liable for copyright
infringement
442
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Pose 19
Pose 20
Pose 21
Pose 22
Pose 23
Pose 24
Pose 25
Pose 26
Pose 27
Pose 28
Pose 29
Pose 30
Pose 31
Pose 32
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IX
CHAPTER 1
INTRODUCTION
In this survey of more than five hundred participants 1 aspired to obtain a better
understandmg of viewer emotive response to colors and body language to provide artists
and art educators perspectives on (a) the use of body language as a figurative
compositional tool to affect the emotional interpretation of a painting and (b) use of
color to elicit a specific emotional response harmonious with the figurative message and
saturation temperature and value variations with color The psychological and technical
tenets of color and body language are reviewed in the literature review as such principles
play a part (consciously or subconciously) in the process through which the respondent
and the artist make decisions While not every person can respond the same to every
color 1 beheve that patterns did emerge some of which are culturally influenced Every
color showed a response pattern with one or more showing significant response ratios I
believe that I did find patterns in the responses to body language that show a connection
between emotions and specific movements human poses and gestures Every pose
showed significant response ratios for one or more emotions This understanding can
help artists to better communicate and elicit emotional responses in their paintings I
limited the study to survey only people who have resided in the United States for at least
seventeen years and range in age from seventeen to eighty-eight years old since this
group represents a cross-section of mature viewers with many culturally shared
perceptions of emotion color and body language While they may come from different
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
0 22
108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
BIBLIOGRAPHY
Aggett L (1995) Capturme Light m Pastel Newton Abbot England David amp Charles Books
Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
Dothan J (1997) Body language whhout the body situating social cues in the virtual world httpduploxwzdedocpaneljudhhhtml
Ekman P (1999) Basic Emotions In T Dalgleish and M Power (Eds) Handbook of Cognition and Emotion Sussex UK John Wiley and Sons Ltd
Ekman P (Editor)(1998) Charles Darwins The Expression of the Emotions hi Man and Animals Thhd Edition whh Introduction Afterwords and Commentaries by Paul Ekman London Harper Collins
Ekman P and Rosenberg E (1997) What the Face Reveals Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System New York New York Oxford Univershy Press
Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
Ekman P (1993) Facial expression of emotion American Psychologist 48 384-392 Ekman P and Scherer K (1982) Handbook of Methods m Nonverbal Behavior Research New York New York Cambridge Univershy Press
98
Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
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Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
I l r j i r p k k mi cmution hc]ltn i b j l lhlaquo cnlni v i u i i t tn Ihr i iftht rliril i ltbull gtngfr bull lui^irn lt csgtr x^^raquo^claquo ~ s0fi1CTltigtpi dcpicssior lt
dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
Ptctir pKk Mt cmiXMB tirlcrvi ilijt tlic calar squart (ti ihr i irlit diribi lt mucr r no-raquot-rgt lt caIn noiplaquogtit-raquoi lt~ ionii-iiij Jipieiiior T
tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
Plmi r piltk an cmitiuH In-law ilial U K fii4iir ltlaquoqii3iL In Ilir i^ riinU
f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
Hf(laquor pick Ml eracKion htlo-M llial H K fn4igtr vquai t (n Ihi- i^lit HiflK ltbull anijcr nnicr wi ln ^ L-vdnpRiii-M-i lt~ siXitfnipi bull cllaquoprcijiO
d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
Pieitie p k k M I efBiMMa bclcm lliat tlK tnlor Miuir i U iht- i irlii rJk iU
I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
PERMISSION TO COPY
In presentmg this thesis in paittal fulfillment of the requhements for a masters
degree at Texas Tech University or Texas Tech University Health Sciences Center I
agree that the Library and my major department shaU make it freely avaUable for
research purposes Permission to copy this thesis for scholarly purposes may be
granted by the Dhector of the Library or my major professor It is understood that
any copymg or publication of this thesis for financial gam shaU not be aUowed
without my further written permission and that any user may be liable for copyright
infringement
CHAPTER 1
INTRODUCTION
In this survey of more than five hundred participants 1 aspired to obtain a better
understandmg of viewer emotive response to colors and body language to provide artists
and art educators perspectives on (a) the use of body language as a figurative
compositional tool to affect the emotional interpretation of a painting and (b) use of
color to elicit a specific emotional response harmonious with the figurative message and
saturation temperature and value variations with color The psychological and technical
tenets of color and body language are reviewed in the literature review as such principles
play a part (consciously or subconciously) in the process through which the respondent
and the artist make decisions While not every person can respond the same to every
color 1 beheve that patterns did emerge some of which are culturally influenced Every
color showed a response pattern with one or more showing significant response ratios I
believe that I did find patterns in the responses to body language that show a connection
between emotions and specific movements human poses and gestures Every pose
showed significant response ratios for one or more emotions This understanding can
help artists to better communicate and elicit emotional responses in their paintings I
limited the study to survey only people who have resided in the United States for at least
seventeen years and range in age from seventeen to eighty-eight years old since this
group represents a cross-section of mature viewers with many culturally shared
perceptions of emotion color and body language While they may come from different
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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49
In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
0 22
108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
BIBLIOGRAPHY
Aggett L (1995) Capturme Light m Pastel Newton Abbot England David amp Charles Books
Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
Dothan J (1997) Body language whhout the body situating social cues in the virtual world httpduploxwzdedocpaneljudhhhtml
Ekman P (1999) Basic Emotions In T Dalgleish and M Power (Eds) Handbook of Cognition and Emotion Sussex UK John Wiley and Sons Ltd
Ekman P (Editor)(1998) Charles Darwins The Expression of the Emotions hi Man and Animals Thhd Edition whh Introduction Afterwords and Commentaries by Paul Ekman London Harper Collins
Ekman P and Rosenberg E (1997) What the Face Reveals Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System New York New York Oxford Univershy Press
Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
Ekman P (1993) Facial expression of emotion American Psychologist 48 384-392 Ekman P and Scherer K (1982) Handbook of Methods m Nonverbal Behavior Research New York New York Cambridge Univershy Press
98
Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
99
Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
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dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
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tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
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f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
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d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
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I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
PERMISSION TO COPY
In presentmg this thesis in paittal fulfillment of the requhements for a masters
degree at Texas Tech University or Texas Tech University Health Sciences Center I
agree that the Library and my major department shaU make it freely avaUable for
research purposes Permission to copy this thesis for scholarly purposes may be
granted by the Dhector of the Library or my major professor It is understood that
any copymg or publication of this thesis for financial gam shaU not be aUowed
without my further written permission and that any user may be liable for copyright
infringement
sub-groups within the American culture they all share similar experiences every day
Most Americans watch the same news programs the same multi-cultural situation
comedies and other shows like Entertairmient Tonight or Biography as well as police
lawyer and sports shows We buy clothes from the same manufacturers in large
departement stores that are duplicated through out the country Clothes come in
preselected styles and colors State mandates the curriculum at schools and the food
served in them Restaurants across the United States serve Mexican Italian German
Chineese Japaneese country and other ethnic foods We shop in the same food chain
stores that always look similar Most teens recognize N Sync and most adults recognize
Elvis Parks and Libraries provide similar services at little or no cost to anyone who
wishes to participate Americans in the work place shpoundire offices facilities meeting
rooms and cafeterias with other Americans reguardless of ethnic or racial group because
they are in the same industry Black American students understand more about Rap
than they do about African tribal taboos Most celebrate the Fourth of July and
Thanksgiving Labor Day and Martin Luther King Day Essentially while we treasure
our unique backgrounds and look to our roots in our daily Uves we share many common
experiences which contribute to the fabric of the overall culture It is hoped that the
control over contacting organizations and the installation of a minimum of age has
reduced the risk of people who would try to deliberately skew the results of the survey as
a lark In addition a minimum of seventeen years of residence in the United States has
hopefully insured some maturity and exposure to this culture
In Chapter IV I will analyze responses to a Web survey that I designed for this
purpose The Web site instrument used a forced answer format to elicit viewer emotive
response to color and whole human body positions I have utilized listserves to invite
people interested in art education to take the survey See Appendix C for organizations
contacted I received 528 responses This large response gives power to the
nonparametric statistical procedure (chi-square) that determines central tendencies toward
emotive interpretations of color and body language Chapter IV shows exact tabulations
for the 528 responses chi-square tabulations and Bar Graphs showing the highest
emotion ratings for each color and pose Chapter V will discuss the conclusions
Specific Research Questions and Hvpothesis
My hypothesis is that I will find patterns in responses to the survey that will show
a correlation between emotions and specific colors and human body gestures The
specific question that 1 ask is Does a correlation exist between color and emotional
responses and is there a correlation between human poses and emotional responses
The null hypothesis is that no connection exists Data from the survey will either
demonstrate my hypothesis or show no connection within the confines of the material
analyzed Frequency Distributation Tables and Bar Graphs will provide a suitable vehicle
to analyze the nominal data to see the relationship of the independent variables (ie color
and pose) by respondents Chi-square formulations will calculate exact tallies and
discover the probabiltiy of occurrence for the null hypothesis Distribution Tables will
organize exact taUies from which percentages will be generated analyzing each color and
pose These percentages will provide the data for the final table that correlates specific
emotional response to a color and to a pose
Operational Definition of Variables
Independent variables include the responses to the color swatches and the
position and gesture photos Dependent variables include the range of emotions possible
for selection by respondents
Significance of Study
The findings will provide useful information to artists and art educators
concerning the most common emotional responses to specific colors and poses This
visual vocabulary will assist artists who desire to express a specific emotion to art
viewers In addition to having their students take the survey art educators may use the
findings from this study by comparing what the artist may have meant to convey
(determined by art historians and the artists own writings) and how students today in
the United States understand the works of an artist Not all artists want to create an
emotional response in the viewer but for figurative artists who do this information will
be of some value Additionally the revised Web survey will be available to teachers and
students and will fiilfill some of the Web usage requirements required by the state
The purpose of the research is not to prove smce proof is theoretically
unattamable Rather the purpose of research is to determine likelihood through
significant correlation and pattern analysis The major design limitation of this study is
lack of control over the Web site and lack of specific consideration and measurement
techniques for ethnic differences Due to the volume of people that can be reached
through this medium I believe that the positive (high exposure and response) aspects far
outweigh the negative aspects (lack of control over the integrity of the respondent and the
color quality and variations on their monitors)
CHAPTER II
COLOR AND BODY LANGUAGE LITERATURE REVIEW
Introduction
Does a connection exist between color and emotional responses and can a similar
connection be established to show a connection between human poses and emotional
responses This review of literature including discussion on color light moods and on
emotional response to body language may support deny or question consistent
connections for all adults unmersed in cultures of the United States The review will also
include selected readings on survey instrument development as it appUes to this study
teaching the use of colors and human poses and review art viewer response theories
Theoretical Framework
Color
Two conmion elements basic to perception of color and to painting are light and a
subject to be viewed In a painting we use pigment to create color but actually color is
the reflection of light on an object Sir Isaac Newton discovered that white light contains
all colors within the spectrum Newtons book Opticks explains the diffraction and
interference (bendmg of light) theories of light as well as giving us the first color wheel
Much of what we know about color and hght is based upon his research A simplified
explanation of the relationship of hght and color involves energy and light rays When
the energy in light is compatible with the surface of an object they merge and are
absorbed by the object For example a white object is white because all the light is
absorbed If the color is red orange yellow green blue violet or some variation
thereof the light rays of all other colors except the one we see are being absorbed The
color we see is the light ray reflectmg off the object because it cannot be absorbed If the
color is black then all of the light rays have been absorbed Pigments in paint or dyes are
tiny particles that reflect specific colors Colors surround us and affect out daily lives
Mary ONeil in Adventures in Color Hailstones and Hallibut Bones (1961) wrote the
following
The Colors live
Between black and white In a land that we
Know best by sight But knowing best Isnt everything For colors dance And colors sing And colors laugh And colors crymdash Turn off the hght And colors die
And they make you feel Every feeling there is
From the grumpiest grump To the frizziest frizz
And you and you and I Know well
Each has a taste And each has a smell
And each has a wonderful Story to tell
In some ways this study is looking for a part of that story or at least the emotional
reactions to each color story The study is designed to investigate color relationships in
art by seeking and identifying patterns of color associations Establishing that such
associations exist is done through chi-square tabulations Measurement of these
associations through observation of similarities in the response tabulations (color family
similarities and high tally percentages) demonstrate that patterns exist Every color story
is part of the overall pattern of emotioncolor relationships Each is dependent upon the
individuals visual perception of color and the life experiences he associates with that
color Some of these life experiences stem from the culture in which we live and others
are governed by the individuals exposure to specific incidents High response ratios
connecting emotions to colors imply a correlation based on cultural commonalities
Visual sensory perceptions include awareness of the temperature of a color color
saturation (the purity of a color) and the value of a color (the shade or tint of a color)
filtered through our eyes and cultural mores Sensory perceptions measure color
constancy (eye accommodations for changes made on color through variations in
illumination) and simultaneous contrast (the relationship of two colors side by side ie
complementary or analogous colors in proximity to each other) Our eyes measure the
values we see and the ones lost in the shadows Consciously or not we perceive color
and Ughting every time we open our eyes and respond to it Maund in the Web site
Stanford Encyclopedia of Color Usts the following observations on visual perception
Principles about Appearances and the Perception of Color
1 Specific colors have appearances characteristic of each color 2 The way colors are identified and recognized is by the way that they
appear to perceivers There are no color thermometers or other measuring devises
3 Colors take a different mode of appearance ie have a different characteristic appearance when they are features of physical surfaces films volumes hght sources etc
4 There are principles governing the conditions under which colors are perceived Certain conditions are better than others for identifying colors certain people are better than others at identifying colors Colored bodies can appear differently when viewed at different distances in different illuminations and against different backgrounds
5 Among the principles in 4 are principles governing constancy effects tendencies for objects to look the same under different conditions
6 There is a certain distinctive form to the way colors appear Visual experiences represent colors in a certain way as qualified features that are sensuous in the widest sense (chapter 5 paragraph 3)
A view that shows the dominance of hue saturation or value is easily accepted
If the visual stimulus does not show the dominance of one of these elements then the eye
tires quickly and perception becomes more difficult Dominance of hue can be
determined by temperature dominance Dominance through the use of saturation results
in a view that is either mostly high saturation or mostly low saturation (including
neutrals) or saturation variations of a single color (monochromatic) Value dominance
results in either sharp edges or lost edges It may show a high contrast with both strong
lights and shadows or either a high or low key may dominate it Visual perception
encompasses all stimulus received by the eye and interpreted by the bram
Color temperature is an important factor in our visual perception Color
temperature is divided into warm and cool colors Strong hght energy is reflected in
bright warm colors but not in cool colors or pastels Color temperature helps the artist
create depth movement and mood Edith Anderson Feisner in Color Studies (2001) Usts
warm and cool colors as follows
The warm hues are yellow yellow-orange orange red-orange red and red- violet The warm hues are usually related to red with the warmest hue being red-orange The cool hues are yellow-green blue-green blue and blue-violetmdashIn other words they are usually related to
blue with the coolest hue being blue-green Green and violet appear to be neither warm nor cool (p 56)
Warm colors come forward while cool colors recede Warm colors appear to move
more quickly than cool Warm colors stimulate us They slightly raise our
temperature and our blood pressure Advertisers know that orange stimulates the
appetite so they often package food in orange containers or use orange labels
Yellow is a high visibility hue that stands out even from a distance It is the color of
sunlight and the Yellow Submarine so it is identified with cheerfulness and
fancifulness Yellow in its more pure forms stimulates activity so its use is
appropriate where such stimulation is desired In some situations it would not be
appropriate (ie additional stimulation for a hypreactive child produced by painting
his room yellow) Red stimulates the movement of blood in our bodies inciting
anger and defiance Using the psychology of color Knute Rockne painted his
players locker room red to stimulate anger and defiance and his visitors locker
room blue to relax his opponents
Cool colors relax us and slightly lower our temperatures Commercial interior
designers often paint a hospital surgical waiting room blue to calm the relatives of the
patient while they are under such a high stress situation Light blue is at the center of
design schemes that are meant to reassure Bride Whelan in Color Harmony 2 refines
the definition of cool colors by dividing them into cold colors and cool colors He uses
the following explanation
Cold refers to fully saturated blue At its brightest it is dominatmg and strong Cold colors remind one of ice and snow The feelings generated by cold colors-blue green blue-green-are the direct opposite of
10
He separates cold colors with the following delineation
Cool colors are based in blue They differ from cold colors because of the addition of yellow to their composition which creates yellow-green green and blue green (p 17)
Whelan and Feisner disagree about the neutrality of green and Whelan does not mention
purple m his hotcold warmcool temperature zones
Even within these defmed categories color temperatures can be relative For
example Cadmium red is a warm red but Alizarin Crimson (a dark translucent red) is a
cool red The addition of black to a color warms it while the addition of white to a color
cools it Pastels then become cool colors Black white and gray are achromatic (neutral)
colors Grays and whites may be either cool or warm depending on the commercial
binder used or how they are mixed with black Black may be cool or neutral depending
upon the ingredients used to make it (Ivory Black is cool but Mars Black is neutral)
Another consideration while not actually a facet of the survey is relative temperatures
The use of a warm hue surrounded by a cool hue or vice versa can have a warm or cool
effect depending on the proportions of each and which becomes the dominant color If
the artist wants to create a feeling of excitement to complement the human pose selected
the clothing may have some cool colors in it as long as the dominant color near the figure
is warm In this case the use of two complementary colors of high intensity (saturation)
would vibrate with energy and cause the figvire to become the focal point
Color saturation is another facet of our visual perception It is the uitensity or
purity of the color A pure color is more vibrant has more energy than a muted color A
pure bright color is a high intensity color A grayed color is a low intensity color A
11
neutral color is one that is lowest on the intensity scale Hillary Page in Color Right from
the Start Irogressive Lessons in Seeing and Understanding Color (1994) described
saturation in the following terms
Saturation the amount of color perceived when compared to the amount of black or white Adjectives to describe degrees of saturation are (A) desaturated for a light version of a saturated color such as pink (B) saturated for vibrant colors such as Coca-Cola Red (C) unsaturated for a less vibrant version of a saturated color (D) neutral for a dull version of the saturated color (p 16)
While it is true that each individual probably sees colors a little differently many
attempts have been made to standardize color The Munsel tree has a measuring system
for hue saturation and value The Munsell tree as described by Feisner m Color Studies
Hues are positioned in a vertical axis showing values from light (above) to dark 9 below) Saturation is measured on a horizontal axis with dull-gray hues at the center evolving into the brightest hues at the outer extremities This illustration shows saturation at the middle value of 5 (p 17)
Albert Munsell created the Munsell tree in Color Notation (1905) It assigns a numerical
value to each color based on its hue saturation and value The Munsel tree uses five
principal colors red yellow blue green and purple These colors and their afterimages
have a rating of 5 Secondary colors are between two number 5 colors and are rated 25
10 and 75 The number before the letter is the hue rating and the number after the letter
is the value rating expressed as numbers between 0 and 9 The final number preceded by
a slash is the saturation rating So 5R411 has a hue rating of 5 the color red and a value
ratmg of 4 and a saturation level of 11 While this seems very scientific were such
information readily available to every artist making a selection based on saturation
between Alizarin Crimson Rose Dore and Permasol Pink (similar colors from different
12
brands) would be simplified The reds are especially important to the figurative artist
because of the relationship of skin tones and the colors surrounding them
raquohi
bull NiriiraTiftn
I VcUos-rttl
lelkiM
H 1
Had
Figure 21 The Munsell Tree
The third consideration is value Every color has its own tonal value The term
value refers to the darkness or hghtness of a color (how much black or white is added to
the color) A color with white added is a tint A color with black added is a shade
Tonal key is the term used to describe the range of values in a painting A painting may
be full contrast high key (predominantly light colors) or low key (predominantly dark
colors) In a full contrast painting there are both soft and hard edges (caused by the
strong range of contrast) A particularly strong light and dark pattern may help the
viewer identify the focal point creating visual tension by clarifying some areas of the
painting while adding a little mystery to the shadows A low-key painting will have only
a few Ut areas in the painting with even those usually at the lower end of the value scale
13
Low key paintings can appear mysterious somber or powerful A high key painting has
a different mood from a full contrast painting or a low key painting All the values are
lighter and brighter giving the feeling of cheerfulness Feisner in Color Studies said the
following
Because pure white and pure black produce the greatest clarity sharp contrasts produce the effect of precision firmness objectivity and alertness Close values on the other hand produce feelings of haziness softness vagueness indeterminacy quiet rest introspection and brooding Dark compositions give feelings of night darkness mystery and fear while light compositions impart illumination clarity and optimism Compositions with middle values seem relaxed less demanding and form combinations that go unnoticed (pp 42-43)
Setting a mood through value is one of the first steps in helping to create a framework
upon which to build an emotional message Contrast between light and dark values
creates the illusion of hght falling on an object and gives the object form
Dorothee L Mella in The Language of Color (1988) investigated peoples relationships
to twenty colors red pink maroon orange peach yellow mint green apple green teal
light blue dark blue mauve purple brown gray silver (metallic) and gold (metallic) She
does not give specific numerical results nor does she explain how she came upon the
answers in her studies She asks (if color is the only language) How do you feel at this
time (p 24) the following are answers to the color quiz found on page 50 (Table 21)
A second interesting question requests that the respondent hsts his most recent
powerful emotion and the color identified with it Answers are divided mto both positive
and negative categories (Table 22)
14
Table 21 Mellas Present Feelings ResponseTable Colors Emotions Red Pink Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple Brown Black White Gray Silver Gold Source Mella
Emotionally Lovingly Moody With some confiision Approvingly Openly Calmly Adventurously With some boredom Green Mechanically Analytically With some mental exhaustion Intuitively Over sensitivity With some imcertainty With some despair With some Loneliness With some emotional fatigue With new self-respect Materially
1988 p 50
15
Table 22 Mellas Most Powerful Emotions Response Table Colors Positive Not so positive Red Pink
Maroon Orange Peach Yellow Mint Green Apple Green Green Teal Light Blue Dark Blue Mauve Purple
Brown Black White Gray Silver Gold
Physicalemotional love Caring love Overburdening Self-loving Satisfaction of needs (food) Championing for right Sharing Self-enhancing Irmovating Physical health needs Higher Faith Mind expansion Decision making Channeling Social acceptance
Personal security Self-power Little reaction No reaction Honor and ideals Material possessions
Source Mella 1988 p 60
Anger
Victimization Frustration Embarrassment Criticism Inactivity Repression Boredom Patronizing Mental exhaustion Nervousness Lack of freedom Invasion of personal privacy Guilt Depression Separation Fatigue Unworthiness Loss
16
Most people process their feelings or interpret their perceptions through
one or more of the following ways colormood associations and colorexperience
associations Colormood associations may occur when a person uses his feelings about
certain colors to enhance a good mood or reduce a bad mood This can take the form of a sad
person surrounding himself with bright colors or a person in a cold climate wearing colors
that are warm in temperature
Colorexperience associations might be manifest in a person who has spent many
years in the southwestern United States showing a preference for earth tones in the decor
of his home having seen so much of those colors in his outdoor environment It could be
manifest in a person detesting a color becaiise unconsciously there is a connection with
the clothes he was wearing when a loved one was seriously injured Within the bounds
of the culture (or cultures) to which a person is exposed a person may make associations
based on individual experiences
People in the United States are exposed to the culture at large and to some extent
sub-cultures that they either belong to or that dominate their immediate environment For
example a Protestant child bom of parents from Kansas and Oklahoma gomg to school
in south Louisiana may not speak French That child will however know how to
pronounce the names of his schoohnates of French descent as well as the names of
streets local festivals and will most likely recognize Cathohc holidays Both he and his
Cajun schoohnates will know about baseball and Boy Scouts Both probably eat
hamburgers hot dogs and jambalaya
17
Colorexperience associations may occur when a person develops a particular
preference for the colors of the flag of his country This culturally based experience can
become mood associated if that person feels a sense of pride when seeing red white and
blue together when not in a flag Other cukurally based associations may be found in the
language a person speaks For example in the English language in the United States we
use such terms as purple passion yellow-bellied coward and green thumb Our literature
refers to Red Badge of Courage and we have a drink called a Blue Hawaiian In
epistemological context colors are terms of identification The red cross on ambulances
durmg wartime the white uniform of a nurse the blue or brown uniform of a policeman
the black uniform of a priest or vicar are easily recognized Early in life we are exposed
to cultural associations We cannot know the percentages of which associations (or
multiples of associations) cause a survey respondent an artist or student to identify
specific colors with specific emotions but we know that these associations occur Each
association is as unique as the person making it however when associations are repeated
to the extent that they form patterns within a broad cultural group (as exists in the United
States) we can assume within bounds that the connecting factor is culturally based
David Givens in The Nonverbal Dictionary of Gestures Signs and Body Language
Cues listed connections for coloremotion associations (Table 23) Feisner m Color
Studies also discusses the relationship in language between color and emotion She
separates the emotions into positive and negative Many of these verbal and emotional
associations are the same as the answers given by respondents that filled in the other box
on the survey (Table 24)
18
Table 23 Givens Moods Associations and Emotions Table Color Moods and Associations Red hot angry defiant hostile full of vitality excitement and love Blue cool pleasant leisurely distant infinite secure
transcendent cahn and tender Yellow pleasant exciting hostile cheerflil joyful and
jovial Orange unpleasant exciting disturbed
contrary hostile and stimulating Purple depressed sad dignified and stately Green cool pleasant leisurely and in control Black sad intense fear despondent dejected melancholy
and unhappy Brown sad not tender despondent dejected melancholy unhappy
and neutral White joy lightness neutral cold Source Givens 1998 Color Cue pp 34
19
Table 24 Feisners Moods Associations and Emotions Table Color Positive Negative Black
White
Red and Pink
Pink
Orange
Brown
Yellow
Green
Blue
Purple
sophistication (m fashion) power sexuality and being being in credit (business)
purity birth cleanliness sterility iimocence peacefulness and empowerment expressions white hes white magic white-collar worker love luck passion festivity and things that are memorable compassion and new red flag red carpet and Red Cross
healthy sweet feminine babyish warmth fruitfuhiess brightness cheerfulness spice earth wood comfort coffeechocolate security cheerfulness sun gold happiness vitality hope optimism envirormient growth spring fertility freshness youth health peace cahn refreshmg wealth royalty aristocracy heaven coohiess truth tranquility conservatism loyalty security hi-technology nautical bravery spirituality aristocracy and mystery
death emptiness depression (things are looking black) disapproval expressions black mark black economy black magic blacklist black sheep blackball black comedy and black market surrender cowardliness cover up and surrender of justice expressions white flag white feather whitewash
war revolution anarchy the devil prostitution fire bureaucracy and danger expressions red blooded expressions red blooded wounds red light district traffic lights red tape left wing but not extremely so
brashness danger
gloom melancholy and boredom
caution sickness betrayal cowardice
poison envy inexperience gullibility immaturity eeriness nausea rawness and aliens
introversion sadness depression cold low class indecent censorious
conceit pomposity mourning death and rage
20
Nonverbal Language
Kinesics is the study of behavioral patterns of nonverbal communication Nonverbal
communication encompasses a wide range of social cues that communicate an emotional
message through facial expressions body movements gestures and postures (the
individuals behavior that connotes messages through anatomical signs) It is behavior other
than spoken or written that represents communication between people usually of a common
background The message can be as simple as a person holding up a hand to signal stop It
can also be the complex body posture and gestures Michaelangelo used to show Adams and
Eves disgrace (as they are driven out of the Garden of Eden) in The Temptation and Fall of
Man The message can be communicated through a nod of the head an embracing arm or
shuffling feet Often the message is less obvious the angle of the heads or bodies of two
people in close proximity to one another Proximity body alignment and body angles relay
subtle hints that answer such questions as Are they ignoring each other angry with each
other or oblivious to each other Nonverbal clues may reinforce or deny substitute or
emphasize verbal messages and are seen as more reliable indicators of those messages
These clues represent over half of the communication process In his Web site discussion of
nonverbal communication (httpwwwdonnenkingcomnvcomhtm) Donnell King says
It fits within the three-part breakdown Albert Mehrabian [Nonverbal Communication (Chicago Aldine-Atherton 1972)] found in his research Mehrabiam foimd that only about 7 percent of the emotional meaning of a message is communicated through expUcit verbal channels About 38 percent is communicated by paralanguage which is basically the use of the voice About 55 percent comes through nonverbal which mcludes such things as gesture posture facial expression etc (p 1)
While a major part of social interchanges nonverbal messages have some
limitations They are often cuhure bound They are also context bound m that some
21
signals have more than one interpretation Men slap each other on the back in friendship
and comradely but a hit to the back could also mean an insidious attack by an aggressor
A wink could be meant as a complement a come on or a signal that one is included in
the joke Some nonverbal communications are gender appropriate or inappropriate as
determined by cukural bias In the United States two little girls can hold hands and
giggle but two little boys cannot In the Middle East two men can hold hands in public
but that is not accepted as the norm m the United States In some cultures men dance
together m mainstream American culture this is unacceptable (exceptions to this would
be tribal or religious ceremonies) Other cuhurally bound hmitations include those that
are generationally or politically influenced They may include gestures The peace sign
is understood in todays society but would not have been understood in 1940 In fact
someone from the 1940s would more closely identify the v for victory sign which is
the peace sign with the hand tumed aroimd Facial expressions aside from other body
language may not be cuhurally bound Only a few emotionsmdashanger disgust sadness
enjoyment and fear are known to be universal or cross-cuhural Others like jealousy and
envy appear to vary in their expression depending upon the mores of a given culture In
his article Facial Expressions and Emotion (1982) Dr Ekman made the following
statement
There is no instance in which 70 or more of the people in one cuhural group judged a picture as showing one of these emotions and a similar percentage of the people in another cultiiral group judged the same expression as showing a different one of these emotions (p 385)
Ekmans Action Facial Coding System through which measurements of facial
movements are taken and recorded for comparison backs up this evidence of this
22
universality for some facial expressions In addition there may be some emotions for
which facial expressions are indistinguishable and some that are distinguishable only by
the clues given through other body movements The final limitation on nonverbal cues is
that they are multi-channel Nonverbal cues are contmuous (often unconscious as in the
case of tics) and do not always send a message They are also multi-channel in that
there may be several body movements going on at the same time Because of our
limitations as human beings we do not always catch fleeting movements that may not be
systematically repeated
People are constantly giving and perceiving messages through collectively
processing and appraismg signals of appearance facial expressions gestures movement
posture and spatial relationships Collective processmg of nonverbal clues is called
clustermg We can derive a more accurate interpretation of nonverbal cues if we
consider all the cues as a unit that work together to communicate a state of mmd or
emotion However emotions read through body language must be kept in context A
man with his arms crossed may have several reasons for doing so He may be cold
angry defensive or nervous When the cluster is considered in total- shivering angry
face crossed legs swinging or any other physical indicator the subject emits (as well as
the environment m which the person is placed)-we have a better idea of the emotional
message that person is sending Paul Ekman and Richard Davidson in The Nature of
Emotion describe the role of emotions as follows
The function of emotions is to signal events that are relevant to the individuals concerns and to motivate behavior to deal with those events (p 121)
23
Emotions are the channel through which we establish our state of mind and our position in
relation to our environment Emotions draw us toward certain people ideas objects and
actions while rejecting others Body language is a window to this state of mind We look to
body language to determine levels of honesty attentiveness boredom frustration confiasion
embarrassment and other strong emotions Human beings have an inexhaustible repertoire
of emotions but we will concentrate on the ones included in this survey
For example let us look at the visible clues for anger Facial clues may include
contractmg of the eye muscles and pulling back on the muscles of the mouth into a
straight line Body signals will complement the facial message The arms may be folded
and held tightly to the body or the arms may be rigid and the hands tightly fisted The
back will be straight and the shoulders erect and tense Together all these hints form a
cluster of reactions that can be read as anger The concept of clustering is important to
the figurative artist because it strengthens the impact of the emotion to be
communicated This makes it easier for the viewer to interpret the message
One of the pioneers in the study of body language and emotions was Charles
Darwin He wrote The Expression of Emotions in Animals and Man (1872) based on his
personal observations He catalogued facial expressions and body language identifying
collective signals with subtle physical variations for similar emotions For example he
banded together the emotions low spirits anxiety grief dejection and despau- seeing
them as degrees of the same basic emotion Some other emotions Darwin banded
together are (a) joy high spirits love tender feelings and devotion (b) reflection and
meditation (c) ill-temper and sulkiness (d) hatred anger and rage (e) disdain
24
contempt disgust (f) surprise and astonishment and (g) fear and horror Darwin
determmed that facial expressions were caused by three principles habit inheritance and
reflex actions While the principle of inheritance is debated today the other two
principles are generally accepted
Unfortunately Darwins work lost its acclaim as anthropologists and other scientists
developed new theories In the latter part of the twentieth century Darwins work was
returned to the forefront largely due to the investigations of Dr Ekman and others The third
edition of this book published in 1998 includes commentaries by Dr Ekman Ekmans
commentaries clarify semantics in todays terms and he updates biological observations An
example of Ekmans commentaries is below
The words for closely related feelings can be confusing In the next paragraph Darwin uses the term grief (which the dictionary says is sorrow or anguish m response to a loss) as the general term for two more specific emotions distress and sadness (p 176)
Ekman does not disagree with the physical observations made by Darwin or his specific
groupings of similar emotions Many of todays scientists and psychologists
acknowledge Darwins contribution
Let us examine specific observations that apply to some of the emotions m the
survey These observations are a composite of Darwins The Expression of Emotion in
Animals and Man Ekmans T Tnmasking The Face (1974) and Gary Faigins The^r t^Is
Complete Guid^ tn Facial Expressions (1990) Their observations are counterparts to one
another (Ekmans based on Darwins work and Faigins based on Ekmans work) and
are conspicuous to even untrained kinesic observers
ANGER HATRED (may include crying which changes the mouth and eyes)
25
While degrees of the same feeling anger is usually a hot (reactive)
emotion while hatred is usually cold and deliberative and longer
lasting
Eyebrows (frowning) lowered and drawn together forming crease in-between
Eyes a lower and upper lid when not crying
lower lid is tense and may be slightly raised
upper lid is tense and may or may not be lowered by the action
of the brow
b when crying-both lids nearly shut (Crying is more often found
in children than aduhs a sign of anger)
Mouth lips are in either of two positions lips compressed firmly with
corners straight or down a mouth tense and squarish as in shouting or
biting position
Nostrils flared
Arms a may be straight rigid with fisted hands
b may be folded and held close to the body
c may be swuiging with hands open flat or fisted
Back and shoulders-tense
DISGUST CONTEMPT Disgust is a milder form of contempt (may be caused by
objects or other outside uifluences like odors or appearances)
while contempt is usually directed at another person
Eyebrow lowered
26
Eyes lower eyelid is pushed up
Mouth a upper lip is raised may be sneering
b lower lip may also be raised and pushing up the lip above or
lowered and slightly protruding
Nostrils the nose is wrinkled which elevates the nostrils
Cheeks raised
Head may be tilted back
Chest expanded shoulders back
SADNESS ANXIETY GRIEF DEJECTION DEPRESSION all features lengthened
(People suffering from grief can display erratic movement but in
the lesser forms of this feeling movement is reduced and
sometimes the person becomes very still or languid)
Eyebrows a irmer ends are raised making the outer ends appear to
slope downward and giving the forehead the appearance of a
frown
b skin below eyebrow is triangulated
Eyes a lids droop
b eyes appear dull and lifeless on the verge of tears
Mouth a lips may be compressed (sometimes the teeth are biting the
bottom lip pulling it in)
b comer of the lips may curve downward (depression)
27
c lips may pout
Head head cheeks and lower jaw hang down
Chest contracted
Shoulders a bowed
b possibly sobbing in extreme grief (or in children minor
levels of grief
Back curled downward
Arms may be crossed close to the body or hanging loosely
Skin color may pale
TENDER FEELINGS JOY
Eyebrowmdash no noticeable change or movement
Eyes a lower lid shows wrinkles
b crows-feet go out from the comer of the eyes
c upper and lower lids contracted
d eyes may sparkle
Nostril widen and move outward with the movement of the mouth
Mouth a lips may not be open but the comers will turn up
b in a full smile the mouth is open teeth may show
Chin lower due to movement of the mouth vyith creases developing
from the nostrils to the chin
Cheeks raised
28
Head may be raised somewhat in laughter or bent forward in
amusement
Shoulders and Chestmdashmay be shaking spasmodically
Arms a may be holding hands to face to hide amusement
b may be raised and swinging or partially raised in
a clapping motion
Feet and Legs-may be stomping dancing about or raised in the air in
joyfiil kicking
LOVE can be familial or romantic (gentle smile clasped arms and
mutual caresses)
DEVOTION face directed upward eyes looking up can have a humble
or kneeling posture hands tumed upward or pahns joined
SURPRISE
Eyebrows raised causing wrinkles across the forehead
Eyes wide ophthahnic (white surrounds the iris) Uds fully open
Mouth lips and teeth apart mouth widely open (looks hke it fell open)
Hands a one or both may be touching face or mouth
b raised open hands may be held high
Body held erect
Skm may be pale if the surprise is bad
29
FEAR
Eyebrow raised but straightened and close together
Eyes a upper lid raised lower lid tense
b eyes may appear to be bulging (as m terrified)
c pupils dilated
Mouth may be open but tense
Hair may stand erect
Muscles superficial muscles may shiver or tremble
Body rigid
Hands a may be held erect and outward to ward off or protect
b may be clenched
Arms a may be held out straight in front of body
b may be held in front of body with arm bent in a
protective marmer
Upper bodymdash may cringe down or lean away from perceived threat
TERROR same as fear except the eyebrows are raised causing the
forehead to wrinkle
REFLECTION MEDITATION In reflection little shows except that the eyebrows are
knit All other cues listed relate to a deeper form of reflection-
meditation For the purposes of the survey both are degrees
of reflection and no delineation has been made
Eyebrows knit or not knit (the higher the level of concentration
30
the more likely they will be knit)
Eyes a may seem vague or vacant not fixed on anything
b lower lids raised and wrmkled
c upper lids slightly contracted
Mouth may be closed
Hands whole hand or thumb and or index fmger may be touching the
mouth chin or mbbing forehead
Head may be leaning to the side against hand or straight up
Arms may be bent at the elbow to support the head (if figure is
sitting) or touch the face (figure is standing or sitting)
SULKINESS This is a mild short-hved form of anger
Eyebrows may be drawn together with a slight frown on forehead
Eyes an upper hd may be opened widely
b eyes may be cast up in a pretense of boredom or fiaistration
Nostrils may flair slightly possibly with wrinkles on the nose
Head may be thrown back and slightly to the side
Shoulders one shoulder may be raised in a cold shoulder
Body anglemdashmay be twisted with the upper body tumed away form the
source of grievance
Hands one or both hands may be placed on the hips
Hip may be jutting out
31
DETERMINATION
Eyebrows may be fairly straight
Eyes slight tensing of the lids with eyes looking hard and unmoving
Mouth firm lips closed jaw set
Chest and shouldersmdashgenerally erect and stiff
Some easily recognizable nonverbal clues include appearance gesture posture body
alignment facial expression and proxemics Social cues such as gait race gender
hau-style gestures and general appearance indicate a persons location in society
Appearance includes everything from the color of the hair (dyed or natural) and the way
it is combed or cut to the style and neatness of the clothes Clothing that is tailored or
frilly simply styled or outrageously styled give social and personality clues Clothing
that is out of place (ie a bathing suit in church or a business suit on the beach) indicates
to even the most casual observer that something is out of sync with this person By the
same reasoning a football player is expected to be dirty and mgged while a banker is
expected to be clean and authoritative lookmg A mugger does not usually look like a
school teacher Social clues cultural roadmaps as described by Judith Donath in her
Web article Body language without the body situating social cues in the virtual world
give us a wealth of information
It is an example of the huge number of very rich cues that we get both about social class and the relationships between people All kinds of things come embodied in social cues There are many axes we can think of These are just three that I thought we should keep in mind innatemdash acquired deliberatemdashsubconscious and universalmdashsub-cuhural (p 1)
32
Whatever the reason that people dress a certain way do their facial make up cut or color
their hair they are making a statement about themselves Essentially outward
appearance is bound by the context in which it is viewed Dowdiness wrmkled and
mismatched clothes with uncombed and out-of-style hair can be a symptom with several
possible explanations The dowdy person may be a slob or someone suffering from bishy
polar disorder or someone from a lower socioeconomic class who doesnt know any
better He could just as equally be a computer genius engineer inventor or artist who is
too busy livmg in his mind to worry about the way he looks Flamboyant dress and
dramatic actions indicate a need to be noticed while conservative dress and restrained
actions imply a need to conform People often cuhivate images based on psychological
and economic expectations
Appearance may also be a composite of physical attributes Susan Quilliam in
Body Language Secrets (1997) said the following
When it comes to the shape of your face the more babyish your face looks the more people will warm to you Recent research at the University of St Andrews has shown that so-called infantile signals-small nose full lips huge eyes small chin and high cheekbones- stir up peoples protective instincts But these signals may also mean that people do not take you seriously More mature features such as a large nose or prominent jaw may well make people see you as more of an equal and be more impressed by what you say or do-even if they do not feel quite so friendly towards you (p 2)
Height has an effect on relationships as well as facial features A woman who has been
abused verbally or physically may hesitate to take a job from a tall man Large people
may crowd a persons body space making some people uncomfortable Conspicuous
deformities such as prosthesis arm or leg braces scars warts hearing aids etc are
33
appearance cues to that may bias others Gender is also a factor of appearance When we
hear the expression dumb blond it is not usually directed at a man although blond men
can be dumb 1 suggest that petite blond women have more difficulty being taken
seriously (at first) because of stereotyping In the working world women often dress in
a more mannish fashion (a tailored business suite) and wear dark colors so they can be
taken seriously Yet there are still proportionately fewer women in high positions in
corporate America Women must constantly strive against generational prejudices of
older male executives who (because of physical differences) still think of them as the
weaker sex
In some ways posture fits in with appearance Posture for the purposes of this
discussion is defined as the position of the body when it is not moving It is a bearing or
a stance but not restricted to a person standing A person who slouches will not
command the same respect as someone with erect posture Posture can also be an
indicator of physical or mental health A person m great pain with a bone disease or
extremely depressed may give an indication of poor health through posture It certainly
gives clues to the emotional state of a person A man with his head in his hands may be
tired depressed or meditating Bowing of the body from the waist indicates submission
A relaxed posture indicates cahn David Givens m The Nonverbal Dictionary of
Gestures Signs and Body Language Cues (2000) described the usage of posture as
follows
Usage When sustained (ie held longer than two seconds) a body movement such as a bowed-head may be considered a posture Though duration varies postures frequently are more expressive of attitudes
34
feelmgs and moods than are briefer gestures and fleeting motions of the body (Posture paragraph 2)
Posture can be culture based and it can give clues to a persons past Often men who
have been m the military will subconsciously affirm their previous lifestyle by the way
they walk or stand This is especially noticeable in the at rest position that former
sailors assume by standmg with their legs splayed The curvature of the legs
(bowleggedness) of a cowboy may indicate much time spent on the back of a horse An
erect bearing may indicate someone who is tense or someone who has a job that
demands this posture Posture and appearance must be considered m the environment in
which the person usually fianctions
Posture implies the position of the whole body Gesture implies the use of one or
several body parts Posture unplies stillness while gesture implies movement A person
may use gesture to emphasize a verbal statement or in place of a verbal statement A
gesture may exist in the form of a shoulder shmg an arm hand and finger extended to
point arm crossing eye signals (a wink the up and down movement which alludes to
sexual approval or mtimidation or the lowered case of submission) mouth signals
(whisthng lip lickmg or bared teeth) leg gestures (kick skip stamp) and hand signals
(to stop to wave or gang hand signals) and many others Gestures include signs of
uitimidation or signs of submission Gestiu-es may have several purposes They may be
accidental or unintentional having no particular significance hke scratching an itch
They may be expressive (hand and facial gestures used to emphasize verbal speech)
They may munic m jest (ie rabbit ears-fingers held behind anothers head or the fingers
and hand mimickmg a gun gomg off) or mimic anothers actions in a bid to be more
35
acceptable Gestures may be technically based such as the signals divers use to
communicate underwater or coded (sign language for the deaf) Finally they may be
symbolic gestures those used in rituals or religious ceremonies Speakers use gesture
deliberately to emphasize explam give a direction or location and as transitional
indicators when movmg from one part of the subject to the next Gestures may have
positive or negative cormotations Crossed arms and legs may indicate insecurity a need
to protect oneself The hand signal of the raised middle finger (while the rest of the
fingers remain m a fist) suggests anger Eye gestures such as closing the eyes for a few
seconds m a social situation (boredom) or the intimidating gaze of the boss are also
negative messages Positive messages may be the open welcoming arms of a mother as
the child comes for comfort Other positive gestures include a smile a wave and a pat
on the back Some gestures like the shoulder shmg appear to be neutral Generally
women seem to be less physical (facial expressions or patting a hand or back) while men
seem to be less restramed using their strength in bolder movements (wallopmg a friend
on the back as a congratulatory gesture) Gesture and posture give strong signals which
are easily read when in the environmental context of the message They are some of the
strongest tools the figurative artist has when composmg an emotional message
Body angles and proxemics are also strong compositional elements for the
figurative artist Body angles include twistmg part of the body toward or away from a
second figure or specific object This could be just the head or the entire upper torso
Body angles unply a message of acceptance or rejection Proxemics is the study of the
spatial relationship of two people or a person and an object In 1963 Edward Hall an
36
anthropologist corned the phrase proxemics to describe mans use of personal space with
fixed and semi-fixed space Fixed space is that which is immovable walls fences etc
Semi-fixed space is that which can be moved flimiture Informal space (personal space)
refers to that space around the individual without which the person is not comfortable
Informal space varies from person to person and cukure to culture Hall defmed four
different zones for personal space They are intimate distance (withm 15 feet) personal
distance (15-4 feet) social distance (4-12 feet) and public distance (12 feet or more)
These distances apply when the people involved are face to face Europeans have
slightly different zones of personal space because the density of the population in Europe
demands it In Europe you may share a table with a perfect stranger This would never
be acceptable m the United States In Africa I noticed ten or twelve people sitting on
one pew in church while the pew behind them remained empty Americans would only
crowd themselves if no other space were available Dr David Gershaw in his Web
article Proxemics-Too Close for Comfort (1986) demonstrates HaUs zones in terms of
the culture in the United States
Howevermdash in our culturemdash if you get closer than 15 feet this will make the other person feel uncomfortable The other person (or you) wUl usually retreat to maintain the desired distance I usually demonstrate this effect when we cover this topic in my psychology class I ask a coed to volunteer to come to the front of the class to talk to me She typically picks the customary distance of 15-4 feet After some conversation I move within 15 feet If the coed backs away I try to maintain the closer distance Several coeds have retreated all the way out the door and into the hall Others may stand their grovmd However they show their discomfort by averting their eyes turning their head or body away or even setting up a barrier by crossing their arms in front of their chest One coed even put one hand on my chest in an attempt to poUtely push me back to the desired distance (p 1)
37
The figurative artist can use the following guidelmes
Intimate space (face to face or side by side) two people close enough together for the
head pelvis thighs and trunk to be m contact or accidentally touch or reach the tmnk
easilymdashless than half an arms length away
Personal space (face to face) hands can reach and hold extremities seated can reach
around trvmk but not as close as to accidentally touch one anothermdashless than an arms
length away (In a crowded room with multiple figures (sports arenas) or in scenes with
high emotional impact the figurative artist would use some variation of both intimate and
personal space)
Social space just beyond touching an arms length plus but intimate enough for the
figures to appear to be conversing (a party or restaurant scene might use this spacing)
Public space figures a large distance away from each other (useful in showing isolation
casual acknowledgement of strangers or a public speaker)
Svunmary
We have asked the question Does a connection exist between color and
emotional responses and can a similar connection be established to show a connection
between human poses and emotional responses The review of literature on color
estabhshes a cormection between temperature and mood and value and mood Mood
applies to a state of mind determined by some emotion or desire We have also seen in
Mellas The Language of Color two charts that show a direct connection between
specific colors and specific emotions Givens color cues show mood associations
38
Feisners wordemotion cormections reinforce and repeat many of the same concepts
presented by Mella and Givens as well as the write in answers in this survey In the
discussion of light we saw that direction source and temperature of light all play a role in
establishmg the ambiance of a given setting The information on nonverbal language
gives us specific facial expressions and body positions including posture gestures body
angles eind proxemics that are associated with specific emotions Two notable sources
Darwin and Ekman define specifically which physical reactions the human body exhibits
under several specific emotions Faigin uses Ekmans work as a basis for his book on
facial expressions for artists Thus the information we now have available supports the
answer Yes there is a connection
39
CHAPTER III
DESIGN AND METHODOLOGY
Design Introduction
The first Frequency Distribution Table statistically matches color and emotions
response ft lists the emotions above the columns and the colors are aligned with the rows
A similar Frequency Distribution Table statistically matches emotions and human poses
Each cell of the above tables shows exact figures tabulated for that color and emotion These
are found in Chapter IV A duplicate set of tables showing the exact percentages as
formulated from the previous tabulations is included in the new survey for students to
compare their own answers with Chapter IV also includes a table that demonstrates the
formula for chi-square and a Critical Value chi-square table that uses degrees of freedom to
show probability The degrees of freedom are used to show where chi-square value is located
on the degree of probability scale This numerical formula illustrates the degree to which
given responses are due to chance See Appendix D for chi-square tabulations done in Excel
Additionally each color and each pose are discussed individually in Chapter IV Bar Charts
for individual colors and poses show which emotions represent the highest responses and the
percentages they elicit Chapter FV will discuss the final analysis of the tallies with the
strongest responses will appear on a table that will show both colors and poses in each of the
two columns and emotions in the rows This table presents patterns for each emotion by
aligning the poseemotion match with the coloremotion responses and recording the degree
of response to each
40
There are twenty-three colors nineteen emotions and thirty-two pictures of poses
See Appendix A for a print out of the survey There are no wrong answers to the survey
therefore there are no preconceived connections between the elements of the survey
Subjects
Models
The subjects who pose for the survey instmments are students in an acting class at
Houston Community College All are above the age of consent and signed release forms
before posing for the images in the survey instmment I took video film of the students
and isolated the best thirty-two frames Student models were asked to act out each of the
nineteen emotions This does not encourage stereotypical positions for the prescribed
emotions because different students mterpreted emotions differently and some emotion
acting looked the same for more than one emotion The teacher and I made suggestions
about frontal and side view poses The poses were identified by specific characteristics
like shoulder angle hand position foot or hip position etc and were selected as stills
from video film
Population
The people involved as respondents to the survey were those who voluntarily
completed the survey on the Intemet The population addressed on the whole included
anyone livmg seventeen years or more in the United States and anyone ranging in age
between seventeen and eighty-eight years old Respondents were asked to fill in
41
information on age gender and to select one of the following categories artist visual
artist or not artist This information is to identify the cross-section of Americans who
respond to the survey Survey participants were solicited from different associations and
organizations in all fifty states in an effort to provide breadth in the solicitation process
See Appendix F for a list of those who were contacted
Probability Sample Size
The sample size of those who responded to the Web site is 528 I sohcited
respondents through selected newsletters and made armouncements to area art
associations and neighborhood clubs informing them about the survey 1 actively
solicited organizations by emailing them a link to the site Respondents to the Web site
were a mixture of those who were notified by their organizations found the site by
accident (surfing the Web) snowballing (networkingmdashresuU of word of mouth interaction
about the survey) and therefore will be classified as random yet voluntary (ie no
controlling factor to determine who will respond to the survey)
Consent of Participants
Consent of individual respondents was not necessary since there was no place to
fill ui names on the Web questionnaire Consent of subjects for the pictures included on
the questionnau-es were recorded on a form acknowledging permission to use their
pictures and a place for their signatures See Appendix B for a copy of the consent form
students were requested to sign
42
Confidentiality
There were three pages to the Web survey (see Appendbc A or
lthttpwwwcraal orgemotionsgt) The first page included a graphic information about
the survey and a request that participants do the survey only if they met the requirements
listed The second page included the survey as well as buttons to gather baseline data on
gender age and self-identity as either an artist visual artist or not an artist The third
page was devoted to acknowledgements No names were collected on the survey In
addition to this the Webmaster received the responses directly They were emailed to me
as the secondary recipient without any identifying marks 1 did not have direct contact
with the survey respondents unless they chose to email me At no tune was any
cormection between respondents and the survey they completed made available to me
Instmmentation
Web Design
There were two main parts to the Web survey The first part contamed twenty-
three color swatches The colors were shown in the following order apricot black blue-
green brown bumt orange dark blue dark green dark red dark purple gold gray
lavender hght blue hme green light yellow magenta mint green orange pink red sap
green yellow and white The colors were selected to show different temperatures and
values The color choices were determined by several approaches Warm cool and
some neutral colors were mcluded The three primary and the three secondary colors
43
with some value variations for each were selected I chose three values for red (pink red
and dark red) three values for orange (apricot orange and burnt orange) and three values
for green (mint green sap green and dark green) Two values each were chosen for
yellow blue and purple The two values for yellow were light yellow and yellow The
two values for blue included a light to middle range blue that was called light blue and a
dark blue The two values for purple included a light to mid range purple called lavender
and a dark purple The decision to use two yellows was made because I was gomg to use
gold (a color many people thmk of as a shade of yellow but that is actually a tint of
brown) The decision to use two values for blue and purple was influenced by my
research on Mellas study and the size limitations necessary for the survey Mellas
survey included some tertiary colors that I wanted to use mcluding bluemdashgreen lime
green and maroon I could not get a good RGB maroon color so I selected a color
between maroon and magenta that was called magenta for purposes of the survey I also
selected gold and brown which are two values of the same color family and are neutrals
A middle value gray was the second neutral selected Black and white were the last
colors selected to complete the survey For the RGB ratings of the selected colors and a
view of the survey see Appendix A The swatches were shown against a white
background and ahemated from left to right to avoid visual contamination Each swatch
was encased in a thm rectangular frame drawn in black Also in the rectangle were
nineteen listed emotions each with a button for selection There was an additional button
for other selections and a small box for the respondent to fill in such a response The
nineteen emotions are anger anxiety cahn compassion contempt depression
44
determination fear grief guih hatred helplessness joy love pride reflection shyness
sulkiness and surprise Each emotion is listed alphabetically The emotions were
selected from those identified by Darwin The selection of some was made to show
variance m degrees (ie sulkiness anger and hatred) and the selection of others was
made to include a reasonable variety of emotions The second part of the survey was
designed like the first except that in the space where the swatches went photos of poses
replaced them Poses were numbered 1-32 and arranged in no specific order The
photographs include one or two figures Some require two figures because proximity and
body angle are features of this study The figures were dressed in black white and
neutrals Color was removed digitally from most photographs When a picture carmot be
neutralized any other way it was displayed m black and white
Evidence of Instrument Reliability
The survey participants were sohcited from organizations of artists and non-
artists This ehminated institutional conceptions from being the only responses gathered
by the survey instrument In addition the high number of participants from all fifty
states helped eliminate any specific regional bias The acting students in the class were
from a cross-section of the area including black Hispanic and white students Selection
of photographs was based on clarity of picture with some duplication of the emotions that
students think they are portraying Since there was not an easily discemable ratio (ie 19
emotions 23 colors and 32 poses) and the respondents were told that emotions could be
used more than once I believe it unlikely that the respondents looked for predetermined
45
matches In the section on how to do the survey the number of preselected answers and
the number of color questions and body language questions were listed to help clarify that
there was not a preexistmg specified questionanswer relationship The addition of the
button for other and a box for written answers enlarges the answer possibilities The
email solicitation went out with my home address and a request for any comments the
respondent wished to make about the survey All of the aforementioned conditions gave
the study uitemal consistency reliability
Procedures
The Web survey was promoted through announcements in newsletters personal
emails with a Imk to members of national and regional organizations and through
networking personal contacts Where possible I tried to obtain a list of members to email
personally and I did search out Web sites of artists and others who might have been
interested in responding to the survey Names of some of these organizations are listed in
Appendix F The survey was up for three months
The meta-tags for the survey were color body language nonverbal
communications and emotions so that surfers of the Web would more easily find the
survey There was a direct link from the Cmco Ranch Area Art League Web site
46
CHAPTER IV
DATA ANALYSIS
Procedure
There were 528 completed responses to the survey Each color and pose was
tallied and recorded on the two tables (Tables 41 and 42) All data analyses in this
chapter are derived from the sums tallied in these tables
A duplicate set of these tables was created and transformed to show percentages
instead of exact tallies This duplicate set was created for use in the new survey for
students teachers and artists use It will not be shown in the data analysis but the
highest percentages will be presented in the discussion of each color and pose and as a
bar chart
Additionally chi-square statistical distribution analysis was done This process
uses count data (the exact tallies) to determine statistical probability the frequency of
occurrence within categories It cannot determine causality and it carmot deny the null
hypothesis It can and does show probability of the altemative hypothesis (the likeliness
of an emotional response) Chi-square tabulations are nominal scale measurement and
follow the equahty versus nonequality rule All the data within the categories (ie
Apricot Black Blue-Green Brown White and Other) shares a common trait with data
from other categories but does not share the same trait For example the categories are
all colors or poses and all are identified with emotions but the colors and poses are not
the same and the responses to the emotions differ
47
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In this study the tally of frequency observed for each color and pose (ie Apricot
is anger 7 anxiety 67 calm 69 compassion 24 surprise 34 other 90) is found in the
individual cells of the Distribution Tables and totals 528 responses Divide the number
528 by the total of 19 emotions plus 1 (for other) that form the 20 categories This gives
the frequency expected due to chance In this case the frequency expected is 264 From
each cell response tabulation (ie anger 7 anxiety 67) the frequency expected is
subtracted from the frequency observed (ie 7-264 = -194) The answer to this part of
the equation is then squared to produce a positive number (-194-194=37636) The
number 37636 is divided by 264 giving the answer 1426 This equation is reproduced
for each of the twenty emotions categories for Apricot and totals are added (Table 43)
The sums computed in the table below were created on a calculator that rounds sums
from the third decimal point The sums could be taken beyond the third decimal point for
more accuracy but for the purposes of this survey little would be gained by doing so as
little would change due to the size of the siuvey
The total (chi square value) is then located on a critical values chi-square table
(Table 44) Looking at the degrees of freedom number (20 emotions categories -1=19
degrees of freedom) If the sum of the cells (ie 49161) is greater than the number Usted
on the degrees of freedom chart then the null hypothesis is rejected and the probability of
the altemative hypothesis is accepted An abridged example of the critical values of chi-
square table (reproduced from Fisher and Yates Statistical Tables for Biological
Agricultural and Medical Research) is found on page 556 of Sprinthalls Basic
Statistical Analysis (1999)
50
Table 43 Chi-Square Formulation Table Emotion Value Chi-Square Calculation
1426 6244 6874
22 110
1019 426
1735 2255 2074 2074 1576 4276 1576 492 349
1282 07 22
15322 Total 528 Chi-Square Value 49161
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 2 3 3 6
60 6
15 36
8 25 34 90
51
Table 44 Chi-Sauare Critical Values
dc m 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
384 599 782 949 1107 1259 1407 1551 1692 1831 1968 2103 2236 2368 2500 2630 2759 2387 3014
664 921
1134 1328 1509 1681 1848 2009 2167 2321 2472 2622 2769 2914 3058 3200 3341 3480 3619
52
The degrees of freedom in the previous table for the color of Apricot are 19
Looking at the entry for the number 19 we see that 49161 is greater than both 3014 and
3619 This means that the probability of error is less than 01 in proving the altemative
hypothesis
There are several computer programs that calculate chi-square The one used in
this analysis is Excel Excel uses chi-square to formulate the probability of occurrence
(null probability) rather than calculate the chi-square value for the altemative hypothesis
The formulation tables created in excel are found in Appendix H The totals will be
mentioned with each color and pose analysis In all cases the null hypothesis has less
than one in a million chance of being tme In some cases the probability is so low that
the computer roimds to 0 The answer is not 0 because this would prove the altemative
hypothesis but it is so miniscule that the Excel automatically rounds to 0 This is a
limitation of the program and therefore the study analysis
Color Analysis
Introduction to Color
Like body language color is somewhat context boimd This survey delimitation
(isolated color swatches) shows what associations are without context Identification of
color response emotions would be clarified and strengthened when shown in the context
of a painting This explains how associations made without context can differ radically
appearing at times to be opposing selections (ie anxiety and calm)
53
If all emotions were equal (19 emotions plus other equal 20 then 20 is divided by
528) each would represent only 4 of the total therefore we are looking for patterns of
more than 4 Pattems v athin a color family are those emotions which are more than
4 and which appear for all members of that family m the survey In this analysis only
the highest percentages are considered significant Individual colors within a color
family may have substantial differences due to the respondents reactions and
associations to the value temperature or hue of a color
Orange
Apricot (hght orange) Bumt Orange and Orange are the three values of survey
colors in the same family Chi-square tabulations (probability of occurrence) for these
colors are Apricot 12345E-92 Bumt Orange 478672E-66 and Orange 278296E-75
All three have negative exponents that minimize the low probability of the null
hypothesis and strengthen the probability of the altemative hypothesis
Survey results show differences and similarities within in the Orange family
Anxiety is the only emotion of significant level common to all three colors (13 for
each) Responses to Other because of extremely high write-in response ratios are worth
notice (Apricot 17 Bumt Orange 16 and Orange 8) This is due to response
write-ins that describe a feeling of warmth Warmth generated 4 of the total for
Apricot 3 for Bumt Orange and 2 for Orange Other words used (common to the
Orange family) are exciting strength and passion Survey results show both similarities
54
and differences Survey results are disclosed in Table 45 Significant emotions are
identified in Figures 41 42 and 43
Red
Pink Red and Dark red are the three values in the red family Also included in
this group is Magenta which is actually a tertiary red color of mid value Probability of
occurrence for these colors is Pink 36168E-138 Red 2613E-122 Dark Red 391152E-
79 and Magenta 39746E-92 All four have negative exponents that numerically signify
only a miniscule possibility of the null hypothesis and give credence to the akemative
hypothesis
Love is the only emotion that makes a strong showing for all members of the red
family (Pmk 20 Red 13 Dark Red 12 and Magenta 17) Responses to the
write-in box for other are not significant Pink shows a significant break of 4 between
Love and the next highest emotion (Shyness) Reds strongest response ratio is Joy 16
There is a 4 break between Joy and Anxiety (14) Responses to Dark Red are about
even with Anger Determination Joy and Love at 12 followed by Calm (11) and
Pride (9) The highest response for Magenta is Love (17) followed by Determination
(13) and Joy (13) Response to Joy was strong for all colors except Pink Exact
tallies from the survey are Usted in Table 46 Significant emotions are identified in
Figures 44 45 46 and 47
55
Table 45 Orange Response Tallies Emotions Apricot Bumt Orange Orange Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 67 69 24 21 10 37
5 3 3 3 6
60 6
15 36
8 25 34 90
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
38 71
7 16 23
3 71 18 2 7
14 7
73 20 43 16 3 8
46 42
56
Anxiety Calm Joy Other 13 13 1 1 17
Figure 41 Apricot
Anxiety Determination Other 13 11 16
Anxiety Determination Joy Surprise 13 13 14 9
Figiu-e 42 Bumt Orange Figure 43 Orange
57
Table 46 Red Response Tallies Emotions Pink Red Dark Red Magenta Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
68 75
4 6 6 0
51 10 5 4 6 3
83 71 51
5 2 1
43 34
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
50 35 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
58
Calm Love Shyness 14 20 16 Anger Anxiety Joy Love
13 14 16 13
Figure 44 Pink Figure 45 Red
Anger Calm Determination Joy Love 12 11 12 12 12
Determination Joy Love 13 13 17
Figure 46 Dark Red Figure 47 Magenta
59
Green
Mint Green Sap Green and Dark Green are the three values in the green family
Lhne Green is a tertiary color combining Yellow and Green The probability of
occurrence for these colors is Mmt Green 87507E-185 Sap Green 37973E-111 Dark
Green 62188E-107 and Lime Green 16322E-257 All four have negative exponents
that denigrate the null hypothesis and augment the probability of the ahemative
hypothesis
Other is the only category that shows a notable response for all four colors Hope
renewal and growth are the only words common to all four greens Peaceful is common
to Mint Green and Sap Green Dark Green engenders words like primitive strength
centered and loneliness Written responses for Lime Green include words like unsettled
perkiness irritation playfulness jealousy and agitation are cool colors) Sap Green and
Dark Green are closely related while Mint Green and Lime Green seem unconnected
Value and hue could be the determining factors for responses and therefore cultural
associations for different greens Lune Green does not seem to share a strong cormection
with either greens or yellows (compare on Table 41) Mmt Green shows a strong
response for Anxiety (28) Sap Green and Dark Green show strong responses for Cahn
(21 each) The strongest response for Lune Green is Surprise (30) All four colors
have extremely high single answers significantly separated form the next most popular
answer (Table 47 and Figures 48-11)
60
Table 47 Green Response Tallies Emotions Mint Green Sap Green Dark Green Lime Green Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37
6 34 55
5 25
111 40 16 10 48
4 6
14 5 6
34 8
30 66
3 15 12 70
4 15
110 33
7 40 49
8 27 6 8
11 21 4
20 77 10 24
1 53
2 85 9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
61
Anxiety Joy Other 28 16 10
C lm Reflection Other 21 13 13
Figure 48 Mmt Green Figure 49 Sap Crreen
Ckilm Reflection Other 21 15 10
Anxiety Joy Surprise Other 16 16 30 16
Figure 410 Dark Green Figure 411 Lime Green
62
Yellow
Light Yellow and Yellow are the two values in the Yellow family The
probability of occurrence for Light Yellow is 1287E-147 and Yellow is 0 Yellow does
not have a tme reading of 0 but is a number so miniscule that the Excel program rounded
it to 0 The miniscule size of both numbers gives support to the ahemative hypothesis
Joy is the only common emotion for both colors (Table 48) Responses to
Yellow show an extremely strong response of 43 for Joy (Figure 412) while Light
Yellows second highest response is Joy (16) Light Yellows highest response ratio is
25 for the emotion Calm (Figure 413) Responses to other for both colors are only 3
therefore not significant The only wrhe-m word common to both is caution (possibly
due to association with road signs)
Purple
Lavender and Dark Purple are the two values for Purple The probability of
occurrence for Lavender is 26303E-255 Dark Purples probability of occurrence is
19813E-115 Both numbers have a negative exponent reducing the possibility of the
null hypothesis
Joy is the emotion with high response ratios common to both colors (Lavender
32 and Dark Purple 10) Lavenders second highest response is Surprise (19)
Dark Purples highest response is Pride (23) Responses to Other are Lavender 11
and Dark Purple 7 Write-in words common to both colors are bolchiess confidence
pleasure optunistic and dislike (Table 49 and Figures 414-15)
63
Table 48 Yellow Response Tallies Emotion LT Yellow Yellow
Table 49 Purple Response Tallies Emotions Lavender Purple
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31 130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41
6 26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
5 15 52 43
7 16 27
6 15 1 2 6
54 30
121 58 11 4
17 38
64
Calm Joy Shyness 25 16 12
Figure 412 Light Yellow Figure 413 Yellow
Joy Surprise Other 32 19 11
Figure 414 Lavender Figure 415 Dark Purple
65
Blue
Light Blue and Dark Blue are the values in the Blue family Blue-Green is a mid
value tertiary color belonging to both the Blue and green families The probability of
occurrence for these colors is Light Blue 0 Dark Blue 276076E-88 and Blue-Green 0
Light Blue and Blue-Green are not actually 0 but the actual numbers are so small that the
Excel has roimded them to 0 Dark Blue is also very minuscule since h has a negative
exponent The probabihty of the null hypothesis is very Ihnited
The emotion Cahn has the strongest response for Light Blue and Blue-Green
(40 each) and a respectable 12 for Dark Blue Reflection is a second color common
to all three (Light Blue 10 Dark Blue 11 and Blue-Green 13) Light Blue and
Blue-Green show 15 responses to Joy but Dark Blue shows only 1 for Joy
Responses to Other are Light Blue 4 Dark Blue 9 and Blue-Green 7 The only
write-in word common to all three is boredom Light Blue engenders words like hope
serenity and peaceful Dark Blues write-m words include boldness strength
confidence powerauthority courage and dignity The words clarity hght hearted
optimism playfuhiess carmg and content are found m the responses for Blue-Green
(Table 410 and Figures 416-418)
66
Table 410 Blue Response Tallies Emotions Lt Blue Dk Blue Blue-Green Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Siuprise Other
0 9
211 44
2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23
3 16 66 10 10 81 71 19 42
5 8
14 5 9
39 58 10 9 4
49
0 15
213 21 11 3 4 1 1 0 0 5
80 13
7 67 12 4
29 42
67
Calm Joy Reflection 40 15 10
Calm Depression Determination Reflection 12 15 13 11
Figure 416 Light Blue Figure 417 Dark Blue
Calm Joy Reflection 40 15 13
Figure 418 Blue-Green
68
Neutrals
Gold Brown and Gray are the three neutral colors in this study The probability
of occurrence for these colors are Gold 23817E-115 Brown 165248E-87 and Gray
6515E-146 All exponents are negative reducing the possibility of the null hypothesis
and strengthening the probabihty of the ahemative hypothesis
These colors do not seem to share any emotions responses as a group Gold has a
high response ratio of 24 for Joy The other responses for Gold seem to be spread out
with 11 for Other and 10 for Anxiety Brown also has a wide spread of responses
with Other having the largest response (16) and Depression havmg the highest response
(15) for a preselected survey emotion Gray has two very high response ratios for Calm
(20) and Depression (21) The next highest responses are Helplessness and
Sulkmess each at 7 Of the write-m words all three got high responses uidicatmg lack
of mterest with words like bored mdifferent dull and detached Gold and Brown also
list words like warmth (2 of the total) and contentedcomfortable (Table 411 and
Figures 419-421)
69
Table 411 Neutrals Response Tallies Emotions Gold Brown Gray Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23
9 32
5 0 6 0 9
127 12 32 37 18 21 42 56
7 14 61 27 16 79 57
7 16 14 4
17 4 3
11 41 20 40
5 85
0 22
108 9 4
111 20
6 38 20
0 40
0 0 5
32 33 40
2 38
70
Anxiety Joy Other 10 24 11
1
Calm Depression Determination Other 11 15 11 16
Figure 419 Gold Figure 420 Brown
C lm Depression Helplessness Sulkiness 20 21 7 7
Figure 421 Gray
71
Black and White
The probabihty of occurrence for black is 17847E-152 The probability of
occiurence for Whhe is 63992E-130 Both colors have a negative exponent that reduces
the probabihty of the null hypothesis and supports the probability of the ahemative
hypothesis
Black has two emotions whh significant responses Depression 24 and
Grief 16 Responses to Other are 12 of the total The emotion Cahn engenders the
largest response for White with 20 of the total This is followed by Other 18
Reflection 12 and Helplessness 9 Write-in words for Black mclude caution
sophistication peace emptmess boldness powerstrength and death Wrhe-m words for
White mclude boredom purity peace clarity emptmess cleanlmess apathy and
spiritual (Table 412 and Figures 422-423)
72
Table 412 Black and White Response TaUies Emotions Black White Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
13 17 43
3 3
125 52 34 85
2 8
19 2 0 6
30 6
10 8
62
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
73
Depression Determination Grief Other 24 9 16 12
Figure 422 Black
Calm Helplessness Reflection Other 20 9 12 18
Figure 423 White
74
Human Poses Analysis
Introduction to Poses
As discussed in Chapter II nonverbal language is to some extent context bound
This survey delimhation (isolated human poses) shows what associations are without
context Many respondents will recognize the universal emotions anger disgust
sadness enjoyment and fear (Chapter II) Other poses not specified previously as
universal but identified whhmdashm this cuhure will be identified by a large response ratio
Emotion identification of isolated poses would be clarified and strengthened when shown
in the context of a painting Only a few poses have a significant response to Other
As hi the section on color analysis we are looking for responses of more than 4
Only the number allocated to them in this survey (poses 1 2 3 32) and the strongest
responses given by respondents identifies the poses To see what the pose looks like refer
to Appendix A and the number allocated for the specific pose To compare poses whh
one another refer to Table 4 For purposes of expediency the poses will be grouped for
analysis There is no connection between the members of a group
Poses 1-8
The foUowmg poses have a probabihty of occurrence as recorded Pose 1 7172
E-272 Pose 2 0 Pose 30 Pose 4 84023E-302 Pose 50 Pose 6 37973E-111 Pose
70 and Pose 80 Poses 2 3 57 and 8 register numbers so low that Excel rovmded them
to 0 They are not actually 0 Poses 1 4 and 6 are all smgle digh numbers whh negative
75
exponents thereby reducing the probability of the null and giving some plausibihty to the
ahemative hypothesis
Pose 1 displays a smgle figure that respondents identified as Surprise (33) and
Fear (18) When examinmg the characteristics of these two emotions (Chapter II) a
similarhy is noted between facial expressions and poses Respondents have clearly
identified the body language (rigidhy of the body) but further identification as to which
of the two emotions to select would require some context showing the cause of the Fear
or Surprise Pose two shows a strong response of 41 for Anger (a universally identified
emotion) Pose 3 also shows a strong response for Anger (37) with a second strong
response for Contempt (24) Pose 4 registers a 26 response ratio for Determination
This is most likely associated whh the figure on the left Anger (23) and Contempt
(22) a close second and thkd and are most likely associated whh the figure on the right
Pose 5 has a single figure that the respondents have overwhelmingly identified as
Depression (40) Pose 6 has two figures but both support the same emotion The
responses to Pose 6 are Anxiety 20 Grief 12 and Helplessness 12 There
appears to be a connection between the three emotions with a difference as to the degree
to which the figure on the right is sufferhig Pose 7 is a smgle figure pose strongly
identified by respondents (43) as Depression Figure 8 has two figures sharhig the same
emotion Recognition of this universal emotion (a form of enjoyment) is Joy 94 For
more mformation on Poses 1-8 refer to Table 413 and Figures 424-431
76
Table413 Poses 1-8 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
i 1
8 79
0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
2 218
25 0 2
82 5
58 10 0 2 9 0 0 0 0 0 5
83 0
29
3 195 21
3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31
4 120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55
5 0
17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10
6 19
103 0
26 22 20
0 53 64 47
6 64
0 0 0 8
50 7
11 28
7 0
13 55 9 0
227 0
17 39 3 0
114 0 0 0
11 9
11 0
20
8 0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11
77
Anxiety Fear Surprise 15 18 33
Figure 424 Pose 1 Figure 425 Pose 2
Anger Contempt 37 24
Sulkiness 14
Figure 426 Pose 3 Figure 427 Pose 4
78
Depression Helplesness Reflection Sulkiness 40 10 10 10
Anxiety Grief Helplessness 20 12 12
Figure 428 Pose 5 Figure 429 Pose 6
Depression Helplessness 43 22
Figure 430 Pose 7 Figure 431 Pose 8
79
Poses 9-16
The following poses have a probabihty of occurrence as recorded Pose 9 0 Pose
10 0 Pose 110 Pose 120 Pose 13 11123E-213 Pose 14 0 Pose 15 0 Pose 16
24989E-226 The exact numerical figures for Poses 910 1112 14 and 15 are
mmiscule and Excel has rounded them to 0 Poses 13 and 16 have negative exponents
that decrease the likelihood of the null hypothesis bemg tme
Pose 9 shows a smgle figure standmg whh arms down Significant responses to
this pose are Cahn 30 Pride 23 and Reflection 15 Pose 10 shows a figure
walkhig whh his fmgers Imked and resthig on the back of his neck His arms extend out
to the elbow and his head is bent forward Responses to this pose are dominated by
Anxiety at 47 Pose 11 has two strong responses Fear (40) and Surprise (27) This
is a single figure pose Pose 12 has only one major response Love has 80 of the
responses Anxiety received 27 of the response tally for Pose 13 foUowed by
Reflection whh an 18 response tally Pose 14 shows a single figure standhig whh arms
and legs splayed and hands fisted Anger one of the universal emotions received 46 of
the responses and Determination foUows a close second with 39 Pose 15 shows a
single figure m a relaxed poshion whh her head back laughing Pose 16 garnered 87
of the total responses Pose 16 reveals a shigle figure with his hands mbbing his eyes
For this pose the respondents chose Anxiety (29) and Grief (19) For more
mformation on Poses 9-16 see Table 414 and Figures 432-436
80
Table 414 Poses 9-16 Emotions Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Poses 9 0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80 9 2 6
48
10 8
250 12
1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32
11 0
26 0 5 3 1 8
213 19 2 0
17 60 2 2
16 0 0
141 13
12 0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10
13 0
147 1
18 9
28 1
14 47 45
0 32
0 0 1
95 67
8 1
14
14 245
13 0 0
31 0
205 0 0 0
16 0 0 0
10 0 0 0 0 8
15 0 2 6 0 0 0 6 0 0 0 0 0 0
460 8 9 0 0
27 10
16 7
154 0 7 0
53 6
18 100 25
0 55 0 0 0
40 15 15 3
30
81
Calm Pride Reflection 30 23 15
Anxiety Hatred Reflection 47 10 16
Figure 432 Pose 9
Figure 433 Pose 10
Fear Joy Surprise 40 11 27
Figure 434 Pose 11 Figure 435 Pose 12
82
Anxiety Reflection Shyness 28 18 13
Anger Determination 46 39
Figiu-e 436 Pose 13 Figure 437 Pose 14
Anxiety Grief 29 19
Figure 438 Pose 15 Figure 439 Pose 16
83
Poses 17-24
The foUowmg poses have a probabihty of occurrence as recorded Pose 17 0
Pose 18 0 Pose 19 0 Pose 200 Pose 21 7817E-216 Pose 22 0 Pose 23 26067
E-165 and Pose 240 The exact numerical tabulations for Poses 1718 19 20 22 and
24 are not actually 0 The number is so miniscule that Excel has rounded to 0 Poses 21
and 23 have negative exponents that reduce the number and therefore the likelihood of
the null hypothesis bemg tme
Pose 17 reveals a smgle figure standmg at attention whh the chest high Pride is
the overwhehnmg response at 68 Pose 18 depicts two figures standmg face to face
whh rigid posture and clenched fists Anger received 66 of the responses and Hatred
received another 7 Contempt received 11 Pose 19 shows two figures close
together The male has a hand on the females back She has her head down This pose
received 81 for Compassion There seems to be no confusion about the second figure
exhibhmg a secondary emotion (ie Depression) Pose 20 displays a female figure
partially rishig form a prone poshion whh head hanging The response for this pose is
about evenly split between Grief (40) and Helplessness Limpness of the posture is the
signal for this response and is present for both emotions Seen in the context of a
painting the viewer would have some hint as to which of these two similar emotions was
bemg expressed Pose 21 shows a figure whh arms spread and body crouched
Respondents selected Compassion (260 and Surprise (22) This is probability the
most difficuh of all the poses to identify as h appears to send mixed signals (open
armsmdashsignal surprise but the crouched posture confuses the viewer) In Pose 22 a
84
seated figiu-e whh head slightly down and hands near the face appears Half the
respondents identified this pose as Reflection Pose 23 shows a standmg figure whh an
arm up and one hand rubbing the neck The neck rubbmg is a signal of tension and 25
assigned Anxiety as the cause Other has the next highest response at 13 Wrhe-m
words for Other include 38 responses of the word confused 1 do not know if the
respondents were confiised or they feh the figure appeared confused One of the
limitations of a Web survey is that there is no way to obtain clarification Other words
include hchy pain doubt and anticipation Pose 24 reveals a figure whh legs splayed
and elbow resting on the hand of the other arm One fist is supporting the head that is
slightly tihed Response to this pose was a significant 67 for Reflection For further
information see Table 415 and Figures 440-447
85
Table 415 Poses 17-24 Emotions Poses Anger Anxiety Cahn Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
17 0
10 44
0 7 0
68 0 0 0 0 4 0 0
360 15 6 0 0
14
18 349
17 0 3
60 0
40 3 0 0
41 1 0 2 1 0 0 0 0 6
19 0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19
20 0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
21 4
37 5
138 3 1
61 14 3 7 3
32 34 10 8 2 2 0
114 50
22 0
46 15 12 0
48 2 7
65 20
2 19 0 1 0
262 6
19 1 3
23 1
131 52
3 14 15 5
29 1
45 0
45 0 0 3
61 65 14 13 67
24 2
10 20
5 20
0 57
1 0 0 1 5 0 1
27 354
6 7 0
12
86
Fear Helplessness 40 36
Figure 440 Pose 17 Figure 441 Pose 18 Figure 442 Pose 19 Figure 443 Pose 20
( impassion 26
Surprise 22
Anxiety Shyness Other 25 12 13
Figure 444 Pose 21 Figure 445 Pose 22 Figure 446 Pose 23 Figure 447 Pose 24
87
Poses 25-32
The followmg poses have a probabihty of occurrence as recorded Pose 25
3746E-219 Pose 26 0 Pose 27 47017E-303 Pose 28 0 Pose 29 0 Pose 30 42734
E-188 Pose 31 0 and Pose 32 0 The exact tabulation of Poses 26 28 29 31 and 32
register numbers so low that Excel has rounded them to 0 Poses 25 27 and 30 have
negative exponents reduchig the number further relegating the likelihood of the null
hypothesis to miniscule proportions
Pose 25 reveals a shigle figure standing whh shoulders bent and head dovm One
hand is touching the face Respondents identified this pose as Grief (25) whh
Reflection showing a strong second place at 17 The qualhy of the picture is not as
good as the others and h is difficuh to see that the figure is actually pinching the bridge
of his nose The thhd response to this pose is Anxiety Clearly the respondents have
identified a sense of thoughtfulness or concem This is a perfect example of a pose
where the color of the backgroimd could clarify to the viewer that the subject is
experiencmg grief sorrow reflection depression or aghation Pose 26 shows two
figures facmg each other Theh faces express pleasure at seemg each other (smiles) and
theh bodies show surprise (proxhnhy and body angles) Respondents overwhelmingly
selected Joy (39) and Surprise (56) Pose 27 shows a shigle figure that respondents
identified as SuUcmess (36raquo) Pose 28 displays a smgle figure with arms raised in
victory Pride (58) and Determination (20) could both be components of a victory
Back groimd colors (ie the colors of the flag) would support the dommant emotion
88
Pose 29 emphatically demonstrates a study of Reflection (72) In Pose 30 a smgle
figure whh hands on her hips depicts an emotion The response to this pose is spread
between Contempt (21) Reflection (18) and Sulkiness (18) The face is not clear
m this picture so the message of body language is dominant While respondents are m
general correct m theh mterpretation of what they see more clarity (facial features) and
color support could affu-m one response over another Pose 31 is unambiguous to
respondents whh a response ratio of 54 The final pose depicts a_figure standmg whh
head slightly bent and hands clasped together Respondents equate this pose whh the
emotion Shyness (44) See Table 416 and figures 448-455 for more mformation
Summary
The fmal step m this mvestigation is to observe any correlation that exists
between that data on color and body language Demonstration of this correlation has
been numerically enhanced by the addition of the percentages to which each color or pose
is identified with the emotion Percentages have been rounded The following table
(Table 417) systematically categorizes high color responses and high body language
responses through the emotion for which they have answers in common Table 417
substantiates and demonstrates these correlations and is thus of value to figurative
artists The numbers below are the percentages representing the highest emotion values
received for each color and pose For example it is mterestmg to note that 16 of the
respondents selected Lime Green as a color that makes them feel anxious 25 of those
89
Table 416 Poses 25-32 Emotions Poses Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
25 1
73 1
13 1
75 2 4
132 62
0 45 2 1 0
89 4
17 0 6
26 0 4 1 2 2 0 0 0 0 2 0 1
204 4 3 0 1 0
297 7
27 91 30
3 4
70 23 28
5 1
16 6 6 0 0 2
31 9
190 2
11
28 4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
29 0
26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14
30 41 25 18 4
113 4
71 0 4 3 2
15 0 0 7
93 8
93 0
27
31 7
10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55
32 2
65 22
7 1
31 0
15 7
30 0
65 0 1 0
30 234
11 0 7
90
Figure 448 Pose 25 Figure 449 Pose 26
Contempt Sulkiness 13 36
Determination Pride 20 58
Figure 450 Pose 27 Figure 451 Pose 28
91
Figure 452 Pose 29 Figure 453 Pose 30
Figure 454 Pose 31 Figure 455 Pose 32
92
Table 417 Correlation Between Colors and Body Language Through Emotions Emotions Colors Body Language (Pose number) Anger
Anxiety
Cahn
Compassion
Contempt Depression
Determination
Fear
Grief Guih Hatred Helplessness
Joy
Love
Pride
Reflection
Shyness
Sulkmess
Surprise
Red 13 Dark Red 12 Magenta 9 Mmt Green 28 Lune Green 16 Red 14 Blue-Green 40 Dark Green 20 Gray 20 Light Blue 40 Lune Green 25 and Sap Green 21 Pmk 11 Light Blue 8 Dark Purple 8 and Sap Green 8 Bumt Orange 5 Black 24 Gray 21 Dark Blue 15 and Brown 15 Dark Blue 13 Orange 13 Magenta 13 Dark Blue 3 Orange 3 11 40 Magenta 3 Black 16 Gray 4 Orange 3 Pmk 10 White 9 Gray 8 YeUow 42 Lavender 32 Gold 24 Pmk 20 Magenta 17 Dark Red 12 Red 10 Dark Purple 23 Magenta 10 Red 10 Dark Red 9 BlufrmdashGreen 13 Sap Green 13 White 13 Dark Blue 11 and Dark Purple 11 Pmk 16 and Light Yellow 12 Gray 8 Brown 8 and Bumt Orange 7 Lune Green 29
18 66 14 46 2 41 3 37 423 10 47 16 29 13 27 23 25 6 20 9 30
19 81 3154 2126
3 24 4 22 30 21 7 52 5 40
14 39 4 26 28 19
20 40 25 25 16 19 25 12 6 9 10 10 18 7 20 36 6 22
894 15 87 26 39
12 80
17 68 28 58 9 23
2468 22 50
3244 13 13 2312
27 36 29 18 216
2656 11 27 21 22 Lavender 19 and Yellow 19
93
surveyed selected Lime Green as a color that makes them feel calm and 29 selected
Lime Green for Surprise Anxiety Cahn and Surprise seem to be mcompatible until
consideration is made for the differences in percentages and the fact that some
associations are based in experiences Pose 1 does not appear m the chart below as
significant to any emotion but Pose 4 appears three tunes Fear and Guih have
astonishing low response ratios for color (nothmg above 3) and Guih shows only one
color (Gray 4) No color received a response of more than 40 while pose
identification produced much higher response ratios Pose 8 94 19 81 and 12 80
See the table on the next page for more m depth observation
Careful exammation of the previous table indicates low emotions color
correlations for Fear Grief and GuUt These are the only emotions for which colors have
such low percentage correlations and seemingly show little or no pattern
Further analysis of the data demonstrates the percentage each emotion received of
the totd number of color responses There are 12144 total responses to the color part of
the survey If each emotion received the same number of responses the average response
would be 5 Some emotions received more and many received less The following
emotions were assigned percentages through rounding and therefore do not add up to
exactly 100 The resuhs are as follows Anger 3 Anxiety 8 Cahn 3
Compassion 4 Contempt 2 Depression 5 Determmation 6 Fear 1 Grief
2 Guih 1 Hatred 1 Helplessness 3 Joy 3 Love 4 Pride 5 Reflection
7 Shyness 4 Sulkiness 3 Surprise 6 and Other 10 Sulkiness Anger and
Hatred three degrees of the same emotion received a total of 7 If Joy and Love are
94
considered degrees of the same emotion their combmed resuhs are also 7 If Grief and
Depression are considered degrees of the same emotion theh total of 6 is more than the
average This accounts for the emotions in the survey that Darwin considered universal
The rest of the emotions were identified through some other means of association
The review for the color responses (previous paragraph) wUl not be repeated for
the poses There are differences between the associations made for color and those made
for body language When correlatmg color to emotion the respondent was projecting an
association cuhurally or imiversally based through associations based on his own
experience In Part 2 of the survey by identifying the poses and the emotions associated
with them the respondent seeks to find an emotion projected by the subject based on the
experience of both the subject and respondent The exact percentage values for emotions
hi part 2 do not show responses selected hidependently by the survey taker Part 2
(poses) helps us to understand what the respondent recognizes as expression of an
emotion and part 1 expresses his feehngs about the color shown The pattems that show
both feelmgs and recognition can be united through the emotions common to both This
will assist the figurative artist to enhance the emotional content of his work
95
CHAPTER V
CONCLUSION
Does a correlation exist between color and emotional responses and is there a
correlation between human poses and emotional responses My hypothesis the
altemative hypothesis says that such a correlation does exist A Web survey was set up
and 528 responses were analyzed through nonparametric statistical procedure A
computer program Excel was selected to formulate a chi-square analysis of the survey
data The resuhing data came hi the form of probabihty of occurrence rather than chi-
square value The extremely low numerical responses for probabihty of occurrence in the
data reduce the likelihood of the null hypothesis to ahnost 0 All of the responses to each
color and each pose were tabulated in this way and there was no example in which the
null hypothesis showed more than a million in one chance of being tme Thus by
default the ahemative hypothesis exhibits strong likelihood to being tme
Chapter II explained the resuhs of researchers of both color and body language
Sufiicient evidence was exammed to support the ahemative hypothesis Meha identifies
red as a color that people associate whh anger Respondents to this survey identified
shades of red with anger 34 of the thne Mella also identified Teal as a color indicatmg
Faith Respondents of this survey identified Blue-Green whh Reflection and some write-
in answers were words describing sphituality Givens used the word joyful as one of the
adjectives to describe Yellow Respondents to this survey identified Joy with YeUow
96
16 of the time Similarly Givens uses the word despondent with Brown Survey
respondents selected Depression for 15 of the answers to the color Brown
Similar correlations can be made for body language resuhs in the survey and the
description of body poses presented in Chapter 11
Chapter IV mcluded a thorough discussion of the data correlatmg specific colors
and specific emotions Correlations were also made for poses and emotions Data was
exammed mdividually for each color and human pose Fmally in Table 417 the data
(fh-st presented m Tables 41 and 42) was combmed and reconstmcted as percentages to
demonstrate the importance of each color and pose mcluded for each emotion AU
emotions except Fear Grief and Guht showed significantly high response ratios to
mdicate a pattem exists
Finally a new Web site http Jwww emotionssurvey com has been established
This site has the basic components of the original survey as well as the answers
respondents selected Students will be able to take the survey print out theh own
answers and then compare them to those of the original respondents This survey will
help art teachers of high school and junior high school levels to explain some facets of
figurative art This survey will also help art teachers meet state requhements for
computer-based lessons
97
BIBLIOGRAPHY
Aggett L (1995) Capturme Light m Pastel Newton Abbot England David amp Charles Books
Cam C D (1987) Psychological aspects of color (Masters Thesis Porter CoUege Univershy of Califomia-Santa Cruz
Chijiiwa H (1987) Color Harmony A Guide to Creative Color Combmations Rockport Massachusetts Rockport Publishers
Dawson D (1991) Capturing Light and Color with Pastel Cmcmnati Ohio North Light Books
DeVito J (2001) The Interpersonal Communication Book Readhig Massachusetts Addison Wesley Longman Inc
Dhnitris J and Mazzarella M (1999) Readhig People How to Understand and Predict Theh Behavior Anythne Anyplace New York New York Galantme Pubhshmg Group
Dothan J (1997) Body language whhout the body situating social cues in the virtual world httpduploxwzdedocpaneljudhhhtml
Ekman P (1999) Basic Emotions In T Dalgleish and M Power (Eds) Handbook of Cognition and Emotion Sussex UK John Wiley and Sons Ltd
Ekman P (Editor)(1998) Charles Darwins The Expression of the Emotions hi Man and Animals Thhd Edition whh Introduction Afterwords and Commentaries by Paul Ekman London Harper Collins
Ekman P and Rosenberg E (1997) What the Face Reveals Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System New York New York Oxford Univershy Press
Ekman P and Davidson R (1994) The Nature of Emotion New York New York Oxford Press
Ekman P (1993) Facial expression of emotion American Psychologist 48 384-392 Ekman P and Scherer K (1982) Handbook of Methods m Nonverbal Behavior Research New York New York Cambridge Univershy Press
98
Ekman P and FriesenW (1974) Unmaskmg The Face New York New York Prentice Hall
Feisner E (2001) Color Studies New York New York Fairchild Publications Inc
Gershaw D (1986) Proxemics-Too Close for Comfort httpwwwawcccazuspsvdgershawlolPrexemicshtml
Givens D( 1998) The Dictionary of Gestures Signs amp Body Language lthttpmembersaolcomnonverbal2dictionlhtmgt
Hedgecoe J (2000) Photographmg People New York New York Sterlmg Publishmg Co
Jackson P (2000) Pamtmg Spectral Light Effects m Watercolor Cmchmati Ohio North Light Books
KatchenC (1993) Dramatize your Pamtmgs Whh Tonal Value Cmchmati Ohio North Light Books
King D (1997) Gender differences in nonverbal cues httpvywwdonellkingcomnyconi2htm
King D (1997) Nonverbal communication httpwwwdonellkingcomnvcomhtm
Kobayashi S (1987) A Book of Colors New York New York Kodansha Intemational
Kobayashi S (1990) Color Image Scale New York New York Kodansha Intemational
Leland N (1998) Exploring Color Cincinnati Ohio North Light Books
Maund B (1998) Stanford Encyclopedia of Philosophy Color
httpplatostanfordeduentriescolor
MeUa D (1988) The Language of Color New York New York Wamer Books
ONeill M (1989) Hailstones and Hahbut Bones New York New York Doubleday Page H (1994) Color Right From the Start New York New York Watson-Gupthl
Publications
99
Purdon D (1998) Color Secrets for Glowing Oil Pamtmgs Cmcirmati Ohio North Light Books
Sprinthall R (1999) Basic Statistical Analysis (Sixth Edhion) Boston Massachusetts A B Longman
Strisik P (1995) Capturmg Light in Oils Cincinnati Ohio North Light Books
Trochim W (2001) The Research Methods Knowledge Base Cmcinnati Ohio Atomic Dog Publishing
Whelan B (1997) Color Harmony 2 Rockport Massachusetts Rockport Pubhshers
Wilcox M (1994) Blue and Yellow Dont Make Green (Revised Edhion) Cmchmati Ohio North Light Books
Willis L (1991) Light How to See It How to Pahit It Cmchmati Ohio North Light Books
Wolf R (1999) Pamtmg the Many Moods of Light Cinchmati Ohio North Light Books
100
APPENDIX A
EMOTIONS SURVEY
This study is concemed whh the subjects as they relate to the American
cuhure and perception Survey participants should be 17 years old or older as 1 seek
participants who have been influenced by this number of years of hving in the United
States If you are then you have my thanks for participating
Purpose The purpose of this survey is to explore the relationship between color and
emotions and body language and emotions Once a relationship is established usmg the
emotion as a key a relationship between color and body language should emerge
101
How to do the survey
Please choose the button next to the word that most accurately describes the
emotion you feel There are 23 colors in part 1 and 32 poses m part 2 If the hsted
emotions do not describe your feelmgs about the color or pose shown
please feel free to
type in the emotion you do feel Answers may be changed before submitthig by clicking
on another response
Any comments about the survey may be sent to KATHARINESTOUTaolcom
Reminder There are two parts please do both
Color and Emotions
Please pick an emotion below that the color square to the left elicits
C sad ( happy f~ anxious C C sad c happy lt~ anxious lt~ nervous lt~ sad lt happy anxious lt~ neTOus c sad lt~ happy lt~ anxious c nervous lt sad lt~ happy lt~ anxious lt~ neiAfous (~ sad C happv ^ anxious
102
Pklaquoir pkk Ml cnialioH bclo^ i t u i llilaquo coloi x^wiutk tn lhlt i if^lti r l k i l t ( oinacr C iingtirM~v lt r jdir -fviipiik^iin f~ -jOfiK-n^pi bull dcpCSji-C
love bull pnJc tnitwioii
ll III Lgt
4jrprijc 1 trther
^ ^ ^ ^
^ ^ ^ 1 ^ ^ H ^ ^ ^ 1 ^ ^
f ifiLicr ^ Hn^ im lt olaquo ln ^ jv^ipBAtiTi cifiKiiijM i Jipreraquolot ^
vlin-rnMigtr few lt gnef bull guiU hatred lt hclpilaquosncsi joy gt love pride reflection f shynlaquoi aJkilaquo f ftrwun bull oihlaquo
l l 111 bull (
Pic4ic pKk ail emotion ticJvvt i l u i U K ciiJitr ^^juaii (lti llic nt^^ rJ in i f aftg f nrigticfgt C cftlm f onni|ttMion lt contempt lt ltlepfCraquoiioi dctc-mmin^n c (cif ^ gnet ^ ijuilt hatred hdp^etstv jc^ love -iJi rilclirr iJi-neS4 SUfcinCi bull i i tpri iC P t h laquo
CTnolii ir IIK-(
rktgt( ^M(U nr oin gtti4gtM lxllt]ivi il ial I I K DISII M]Li ik ltii IIK itlii tliltils f anger C m ix im lt~ cjiijn T onmpissiiVi lt~ contempt lt dcprcijio^ ^
d[ltrnninaxirw lt fetr lt crief lt gtu3li ^ hatred helpJe$jrgtct lt iiy lt love jnJc f rctccticn f siiyncw i klaquoTiOliwgt
sulkincs urofi5laquo otber
PICitit p k k mt cii I oluvi l l i l l llic tnAat NquiiiL 4ii ibe rirlgtgt eltrii]
caIn bull ciioipav^iyi ^ citntcjnjy i ijcpicraquoiof (^ (kKTrninitirm feir lt grief lt ^ l l hatred ^ helpiessncss joy love f pride f rdleciicfi f sJ)vnlaquoraquo lt aJlctnes i Mifpiiw bull aihei
i r ll -I
P l c m j j ick ail c iu idou Iwluv lUal l l i f (ltilii ^ I I S I L (a l l ir n^Ut t li-l
f aruer t iinyir-v f cAlm C tnKiiiHuisim lt ctM loi ipl Jlaquopilaquoraquogt4w--i
dtTcrTninaton fear lt grief ^ yuih hatred lt hdpleiHicss jlt3gt lt I eve bull priJc lt rltlllaquotiWi raquo AJtytie- Sulkitle^f Hiipnw f alber unoiion
103
r i fd ie p k k mi eniDlion tirlovraquo th j i ttif cnlor squsri trr I I K irght r lk iM
dcicTiiinuiott lt~ feu bull griet iuili lt haired bull lielpllaquojjnti joy lt lovlt bull^ pndc reflcctofi shvfMsi sUfcaness i surpnse lt niher
cniotifHi
Picitir pKk Ml cmattOH tidovt tliJt ll it colac square (u Ifac rirhi ritfiM
inacr C nnicrs AII-^ i-inipnraquoi TI ~ uotiinc ^ ilaquopn-raquoraquoici
Jtilaquo-ninraquoti^-r few lt griei lt jjuill lt haired lt hclpieisncis jjoy lt
love pride reflect on shynesi ^ sdllgtnlaquoi bull surjwij nihlaquo
I I J I I K - I I
Iidtic t^^k ail ciaotioii W I O M llial ik ltigtJiu ltlaquo|iiiirt lt(i tlif gt igjit rlKtiii-
f afiilt raquointi M T I I I bull bull tirifiBxiMi Li-r^tmipl vkpCSSiOi
dctc-minariolaquoi lt fear ^ grief ^ k^ill hatred ^ helpiessrkCH bull gt0|y
love f pnJc f rcOcction f Shrneraquo sulkines lt Hirprise f~ Pther
cmoiiifi
llvrtlici i bull UtiiJt pi tk Mt era jtH)B traquotl(raquo^ l l iJl llK tfHni y jua i i Ici the J iftln rJifiM r j r m r f iinlaquoi-~rv cilr-i r-imp[ii-lt-i suritcm^- ~ viiZpiCiJion f
dirmininolaquoi bull fetr lt gnef lt s bull hatred hHj)enlaquo4raquo lt joy love priJc reflecton r shynesi aJkiness f mrprist ^ otber isrioliiii
Hiiililaquot t
Pletic pkk ail ciuFiitgtb Iniuti i l u i tJic cnior iiqiian tn the riftli l elirilx c irlaquo-r bull Hi i im bull r-slri -^iipd^iuTi bullcltria^fgtt f depiciiic^ f
dciltTTinition feir ^ gnet lt jjuill haired lt htlpiessncsi f C^ lt love f pride f bull i - bullgtbull ^hyncsj bull sJkiiftf f f4itcMilaquo f oihltM ppiolii
11 llVl bull
1 r affgc ( laquonricry ^ calm com(laquobulllaquolaquoraquo lt cltilaquogtidiipi lt ltfc dcc-TTiiniTlaquoi fear lt^ QVCX ^uslt f hatred i belpllaquoHcs Icve f friJc t-nein^r bullJlVI1e ^ silkme^ bull bullbulllaquolTp e cmoiicn
1
5 r jo- r
bull mber
104
I l r j i r p k k mi cmution hc]ltn i b j l lhlaquo cnlni v i u i i t tn Ihr i iftht rliril i ltbull gtngfr bull lui^irn lt csgtr x^^raquo^claquo ~ s0fi1CTltigtpi dcpicssior lt
dccerrrinuii-^ bull few lt grief tjuitl lt hairlaquoJ lt~ hlaquogtplejjrKji f lOy bull love laquo pndc ~ rcflccton shvivcsi sUkmess ^ suq)gtnampe lt olber KTWiAwM
It iilK-1
Ptctir pKk Mt cmiXMB tirlcrvi ilijt tlic calar squart (ti ihr i irlit diribi lt mucr r no-raquot-rgt lt caIn noiplaquogtit-raquoi lt~ ionii-iiij Jipieiiior T
tfii^-rrriiiAticir bull few lt grief ^ gwili ^ haired lt hclpiesjncsi lt^ Cfi ^ love bullbull pride rrilcNriion r shyncsi 5gtJkinlaquolaquo r surfuriie r oihr
(T^I|1|1ltlaquoI
II I I I VI I
Plmi r piltk an cmitiuH In-law ilial U K fii4iir ltlaquoqii3iL In Ilir i^ riinU
f urult Bnirrgt bull vain cvnpnviiyi ^ jiNrliJupt lt tkptclaquogtiO f
dcic-mmm-vn fcir lt gncf ^ iJUit hatred hdpietjrycts bull jogt kivc f pfiJc f rcOlaquotion f s^ynew ^ aJkinets furpnw ~ Pttwr CsniMJifi
11 ili-i ^
Hf(laquor pick Ml eracKion htlo-M llial H K fn4igtr vquai t (n Ihi- i^lit HiflK ltbull anijcr nnicr wi ln ^ L-vdnpRiii-M-i lt~ siXitfnipi bull cllaquoprcijiO
d[crminipoundigtn i feu lt gnef bull ^uili lt haired hdpiessnci ji^ icvc r jxiilc f reilcction f shyness ^ suikiness Furprse ^ otber larioliwi
II rtli-i
Pieitie p k k M I efBiMMa bclcm lliat tlK tnlor Miuir i U iht- i irlii rJk iU
I mwer bullbullbull laquonltraquorfgt lt-alfi ^ s4ioipsviiiTi ontLIl1j ^ Lli[iii-itiiv lt
dcwvTTiintcicm feu ^ grief ^ jjuili lt haiiwJ lt hdpiessneii bull |oy bull love priiJe f reflection f vhyncM ^ aiikiflelaquo$ r Hifpriw f nshei orioiti^i
11 iilx- f
F^Ci^ l 1 1 - bull bull 1 CM l l l i r-Jli t J l -
ufk(cr I anyic^ lt t-laquoin bull Hvn|raquoBraquoUTn bull crr^laiipl dcprcfUO^
li-iemiinaflofi ^ tczi ^ grief lt tjuilt ^ hatred helpleiiiKss joj f l-vc f priilc r retlc^tiw f rfiynelaquo ^ sUkines Hirpnse ^ Pthwr i iiotion
105
IIcair pkk mi emotion hrltfv lltJit LIK crtlm gtquaii In iht iifgthi rlkili r iingrr bullbull nnxirrv rjgtlr- roipj raquo4 -ri bull yori|raquoraquoigt|i ~ dvpiosslor dctcrmiruilt-laquoi lt feu lt jjfiet bull i uili lt haired love pndc f reflectcfi shyncsi wiiixiwi
lielpiejtneraquot f joy sUkines i surpnt f oibw
tr I I I K T I
Pldtr pKk Mil canutioii bcloM tlut liic ciklnr squarL- (o ifac lirbl dkiljl irwfr r Af|4r gt lt isli j-laquo^iplaquoii Ti bullIriliiili bull-K(llCraquoiltgt
lii-niinMinn laquo feu lt gri tfuii haired lt hclpiessncii f joy Icvc pride f reflector bullJiynesi AJkinlaquo f surpij i oihlaquo
innhi^i
irillgtlti
Plcitir piltk an cni^tttoH Ifrlovi llial I I K ltII4IM laquoqiltjiri (ii I I K I ig^i rJtrlaquoU Lifi C- bull nririr^ ~ c i l n ivnfoHiiii ^ i-rtinipl li-pivsjiC ^
dcicTninlaquoiolaquoi feu ^ gncf lt ^i l l hatred hdpraquoestnc$s joy bull love f pnik r relt1eciiltgtn f shyneraquo lt^ siJkines wirpriw ^ pther PfTioiicn
nrtiid r
l l d t i r p k k an emiitwH hciovt I I M I ( I K ctWni squJit (o the nht cJiciM
dcwrminariofl f ftu lt gnef lt yjyili ^ haired help4etigtlaquolaquo bull joy love pTic lt reflector shyness sulkincs ^ wrpris ^ other MflOlit^l
11 oiliet
Please pick an emotion below that the photograph to the right elicits anyer lt~ anxiety calm lt compassion conlenipi lt depression determination lt~ fear lt~ grief lt yuilt ~ hatred (~ helplessness lt~ joy ^ love lt pride lt reflection f~ shyness lt sulkiness (~ surprise ^ other emotion
If other I
106
Please pick an emotion hclow thai the photograph to the left elicits lt anger lt anxiety lt calm lt compassion lt~ contempt lt depression lt~ determination (~ fear C grief (~ guilt (~ hatred lt~ helplessness f~ joy love C pride
lt~ reflection lt shyness lt sulkiness lt surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the right elicits lt anger (~ anxiety lt calm lt compassion lt~ contempt lt~ depression lt~ determination c fear lt grief lt~ guilt (~ hatred lt helplessness lt joy f~ love pride c reflection lt shyness lt~ sulkiness surprise lt~ other emotion
If other n Please pick an emotion below that the photograph to the left elkits lt anger lt anxiety (~ calm lt~ compassion lt~ contempt lt depression lt~ determination lt~ fear lt~ grief guilt lt hatred lt helplessness f joy lt~ love lt pride lt reflection lt~ shyness lt sulkiness lt~ surprise lt other
emotion
If other | i
107
Please pick an emotion lgtelow that the photograph to the rieht elicits ciniiiT anK-l calm vnmpassiuii conlinipl lt~ depression lt~ determination lt~ teai lt grief lt~ guilt ~ haired lt helplessness lt joy lt love lt pride lt~ lelleclioti lt shyness lt sulkiness lt surprise lt~ other emotion
If other I
(lease pick an emotion below that the photograph to the lett elicits anger lt~ anxiety lt calm lt compassion lt contempt
depression lt determination lt~ fear lt~ grief lt guilt ~ hatred lt helplessness lt joy lt love lt~ pndc lt rcllection lt~ shyness lt sulkiness lt~ surprise lt~ other emotion If other r
Please pick an emotion below that the photograph tu the right elicits iigt
anuer lt~ anxietN lt~ calm lt~ compassion c contempt lt depression (~ determination lt fear lt~ grief lt~ guilt hatred lt~ helplessness lt~ joy lt~ love lt~ pride lt~ rcllection (~ shyness lt~ sulkiness lt surprise lt~ other
emotion gttion
If (Mher
Please pick an emotion below that the photograph to the left elicits ^ anger aniel calm lt~ compassion lt contempt (~ depression lt determmation fear lt~ grief lt~ guilt ^ hatred lt helplessness C joy bull love lt pride ( rcOection i shyness lt sulkiness lt surprise lt other
enuuion
I tother I
108
Please pick an emotion lielow thai the photograph to the right elicits anger aniet lt calm i eoinpiissioii toiilcinpl lt~ depression lt~ determination lt~ fear lt grief lt guill lt hatred lt helplessness lt joy ^ love lt~ pride ( retlection lt shyness lt sulkiness lt surprise lt other emotion
If other 1 1 H raquo
Ilt-ase pick an emotion below that the photograph to the left elicits anger lt anxiety lt~ calm bull compassion lt~ contempt depression lt~ determination lt fear lt~ grief lt~ guilt hatred lt hciplessness lt~ joy lt love lt pride
reflection (~ shyness lt~ sulkiness lt surprise ~ other emotion If other
Please pick an emotion below that the photograph to the bull anger ~ anxiety lt calm ~ compassion lt~ contempt ~ depression C determination lt fear lt~ grief ~ guilt r hat
right elicits
depression lt determination lt fear lt~ grief ~ guilt lt~ haired lt helplessness lt joy lt~ love lt pride ~ reflection lt shyness r
If other
sulkiness f~ surprise lt other emotion
Please pick an emotion below that the photograph to the left elicits
lt~ anger lt~ anxiciv calm lt~ compassion lt~ contempt
depression lt determination lt fear grief lt~ guil l
bull hatrerl lt~ helplessness (~ joy lt love lt pride
1 reflection bull shyness lt sulkiness ^ surprise lt other emotion
If other 1
109
Pleasp pick an miolion below that the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt (~ depression lt determination lt fear lt~ grief (~ guilt lt hatred lt~ helplessness ~ joy C love lt~ pride lt~ reflection f~ shyness lt~ sulkiness (~ surprise i other emotion
If other I
Please pick an emotion below that the photograph to the left elicits ~ anger lt~ anxiety lt calm lt compassion lt contempt lt~ depression lt~ determination ( fear ~ grief lt guilt lt~ hatred f~ helplessness lt joy lt~ love ( pride lt~ reflection ^ shyness lt sulkiness lt surprise lt other emotion
If other 1
Please pick an emotion below that the photograph to the rigtil elicits lt~ anger ^ anxietv ~ calm lt~ compassion lt contempt lt~ depression lt~ determination lt~ fear lt grief lt guilt lt hatred lt helplessness lt~ joy lt love lt pride lt reflection ~ shvness ~ sulkiness lt surprise lt other emotion
If other
Please pick an emotion below that Ihe photograph to the left elicits ( anger lt anxiety lt calm C compassion lt~ contempt lt~ depression lt~ determination fear lt~ grief ~ guilt ( hatred f helplessness lt~ joy lt love lt~ pride I reflection lt shyness lt sulkiness ( surprise lt other emotion
If other
110
bullase pick an emotion below thai the photograph to Ihe anger lt anxiety lt calm lt~ compassion lt~ contempt depression lt~ determination lt~ fear lt~ grief ~ guill
- _tiii|jeuroi3inii contempt depression lt determination lt~ fear lt~ grief ~ lt~ hatred lt helplessness lt~ bullmdash ~ - -C rptlprfinn C hvi
right elicits
c reflect
If other
v_ joy lt love (~ pride ion lt~ shyness lt~ sulkiness lt~ suipiise ~ other emoiion
E l
1 bull ^ H
Please pick an emotion below that the |)hotograph to the left elicits anger anxiety calm lt~ compassion ~ contempt
depression lt~ determination (~ fear lt~ grief lt guilt
1 hatred ~ helplessness lt~ joy lt love lt pride
reflection lt~ shyness lt sulkiness lt surprise lt~ other emotion
If other 1
Please pick an emotion below that the photograph to the right elicits f~ anger lt~ anxietv lt~ calm lt~ compassion lt contempt C depression lt~ determination lt fear lt~ grief lt guilt c hatred lt helplessness lt joy lt~ love lt pride lt~ reflection lt~ shyness lt sulkiness f~ surprise lt other
emotion
If other
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^^^VBV HMT J f~^ jjy
^
Please pick an emotion below that the photograph to the left elicits ~ anger lt anxiety lt~ calm lt compassion ( contempt lt~ depression lt detetmination lt fear lt~ grief lt guilt c hatred f helplessness lt~ joy lt love lt pride lt~ reflection lt shyness lt sulkiness lt surprise lt other
emotion
irolhcr
111
Please pick an emoiion below that the photograph to the left elicits
lt angei anxiety lt calm c compassion lt contempt lt depression lt~ determination lt fear lt~ grief lt~ guilt f~ hatred f~ helplessness C joy lt~ love (~ pride I leflection ^ shyness lt sulkiness lt surprise lt~ other emotion
Ifothei I
Please pick an emotion below that the photograph to the left elicits aiigei anxiety calm compassion lt contempt lt depression lt~ determination c fear lt grief lt guilt c hatred lt~ helplessness lt~ joy lt love lt pride lefleciion lt~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other f
Please pick an emotion below that the photograph to the left elicits lt angei anxiety ^ calm lt compassion lt~ contempt lt depression lt determination fear lt~ grief ~ guilt (~ hatred lt~ helplessness lt~ joy lt love lt pride lt reflection (~ shyness lt~ sulkiness ~ surprise lt~ other emotion
If other
Please pick an emotion below that the photograph to the left elicits anger anxiety calm ~ compassion ~ contempt ~ depression lt~ determination lt fear lt~ grief (~ guilt i hatred lt helplessness lt~ joy lt love lt pride reflection lt~ shyness C sulkiness lt~ surprise lt~ other emotion
If other I
112
Please pick an emotion blaquolow thai Ihe photograph lo Ihe left elkits
(~ anger lt anxiety C calm (~ compassion lt~ contempt lt~ depression C determination C fear lt~ grief lt~ guilt lt hatred lt helplessness (~ joy lt~ love lt~ pride f~ reflection lt~ shyness lt sulkiness surprise lt~ other
emotion
if other
M Please pick an emotion below Ihal Ihe photograph lo Ihe left elicits lt anger f~ anxiety calm lt compassion lt~ contempt lt depression lt~ determination lt fear lt~ grief guilt lt hatred f helplessness lt joy lt love lt pride lt reflection f shyness lt~ sulkiness lt~ surprise lt~ other
emotion
If other 1
Please pick an emoiion below thai the photograph to the right elicits lt~ anger lt~ anxiety lt~ calm lt~ compassion lt contempt C depression lt determination lt~ fear lt grief lt guilt hatred lt~ helplessness c joy lt~ love lt~ pride lt reflection shyness C sulkiness lt~ surprise other emotion
If other
Please pick an emoiion below Ihal the photograph lo Ihe left elicits lt anger (~ anxiety (~ calm lt~ compassion lt contempt
lt depression lt~ determination lt fear lt~ grief lt guilt lt~ hatred lt~ helplessness lt joy lt love lt pride reflection lt~ shyness lt sulkiness f surprise lt other emotion
If other
113
Please pick an emotion below that the photograph to the right elicits 1 anger lt anxiety calm lt^ compassion lt~ contempt ~ depression lt~ delermination fear lt~ grief ~ guilt f haired lt helplessness lt joy ^ love C pnde
lt~ reflection bull shvness (~ sulkiness ( surprise ^ olhei emotiiHi
If other 1 7 J^wW^
Please pick an emotion below that the photograph to the right elicits anger lt anxiety lt calm lt compassion lt~ contempt depression lt~ determination bull fear lt~ grief lt guilt haired lt~ helplessness lt~ joy lt love (~ pride reflection lt~ shvness lt sulkiness lt surprise ~ other emotion
if other
Please pick an emotion below that the photograph to the right elicils anacr anxiety calm compassion iontcm|ji ~ depression lt~ determination fear lt grief lt guilt C hatred lt helplessness C joy lt love lt pndc lt~ reflection lt~ shyness lt~ sulkmess lt surprise ^ other emotion
If other
Please pick an emotion below that the photograph to Ihe right elicits anger ^ anxietv calm f^ compassion contempi
depression lt~ determination fear C grief lt~ guilt (~ hatred helplessness lt joy bull love lt pride c reflection lt~ shvness lt~ sulkmess f surprise lt other emotion If other
114
Color Guidelines for Survey
Each color is defined by the RGB numbering system used on computers They are apricot
(light orange) RGB 24714379 black RGB 000 blue-green RGB 39182140 brown
RGB 85372 bumt orange RGB 187824 dark blue RGB 9451 dark green RGB
194015 dark red RGB 123153 dark purple RGB 67496 gold RGB 22414212
gray RGB 115115115 lavender RGB 197103240 light blue RGB 153170242 light
yellow RGB 255245153 lime green RGB 15623110 magenta RGB 179743 mint
green RGB 163245182 orange RGB 24714829 pink RGB 247140152 red RGB
240126 sap green RGB 141253 yellow RGB 2552420 and white RGB
255255255
115
APPENDIX B
SUBJECT RELEASE FORM
This is a request for your assistance and participation in this web site Part of my thesis work for my Masters in Art Education will include a web site on both color and body language It is the section on body language in which I will need your assistance The premise is that the position of the figures in a painting or any other work of art gives clues to the viewer that emote a response I think body language gives an even more effective indication of a persons mind set and emotions than facial expressions For example a person may have a smile on their face but their hands may be fisted Do you believe the fece or the hands In this part of the web survey nineteen emotions will be tested through thirty different body poses some single poses and some with two people as proximity plays a factor in how we read a situation The participants will wear black and be shown against a white background to avoid any influence of color on the responses I would like to come to your class and video people in poses they believe to be an expression of various emotions From the tape I will then isolate the best thirty stills clean them up on Photoshop and put the figures on a white background These will then be displayed on the Cinco Ranch Area Art League web she in early October and will remain up until sometime in January The address of the web site will be httpvywwcraalorgemotions The pictures on the web site will be about two inches square so it will not be easy to identify individuals Thank you for reading this If you wish to participate please sign on the line below Your instructor will announce the date for this exercise Kathy Stout
I wish to participate in this study I understand that the pictures generated during the class video session will not be used for any purpose other than within the normal confines of the thesis the web site and the presentation I am eighteen years of age or older and therefore have the legal right to sign this agreement
Name
Date
116
APPENDIX C
CONTACT ORGANIZATIONS
American Association of Architects (Student Chapter)
ABC Home School Association
American Craft Associates and its affiliates
Advertising Photographers of America
American Society of Picture Professionals
Art Dealers Association of America
Art Deco Society of California
American Oil Pamters Society
American Society of Picture Profession
Art Dealers Association of America
Art Deco Society of California
American Oil Painters Society
American Quilters Society
American Sewing Guild
American Society of Aestheticians
American Association of Interior Designers
American Watercolor Society and hs state affiliates
American Wood Carvers Society
Association of Stained Glass Artists
Cinco Ranch Area Art League
117
Creative Alternatives
Handweavers Guild of America and its state affiliates
Houston Calligraphers Association
Mid Atlantic Fiber Association
National Association of Art Educators
Pastel Association of America and its chapters
Plein Ah Painters of America
The Garden Club of America and its regional affiliates
The Society of Decorative Painters
118
APPENDIX D
EXCEL CHI-SQUARE TABLES
Table Dl Color
APRICOT Actual Anpier
Anxiety Calm
Compassion Contempt Depression Determination Fear Grief Guill Hatred
Helplessness Joy Love Pnde Reflection
Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion
Contempt Depression Determination
Fear
Gnef Guilt Hatred Helplessness
Joy Love Pride
Reflection Shyness Sulkiness Surpnse
Other
7 67
69 24
21 10 37
5 2
3 3
6 60
6 15 36
B 25 34
90 528
264 264 264
264 264 264 264
264 264 264 264 264 264 264 264
264 264 264 264
264
Black Actual Anger
Anxiety Calm
Compassion Contempt Depression
Determination Fear Gnef Guilt
Hatred Helplessness Joy Love
Pnde Reflection Shyness
Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief
Guilt Hatred Helplessness Joy Love Pride Reflection
Shyness Sulkiness Surprise Other
13 17
43 3 3
126
52 34
ffi 2
8 19 2 0
6 30
6 10 8
62 528
264 264 264 264 264 264 264 264 264 264 264 2 6 4 2 6 4 264 264 264 264 264 264 2 6 4
NuH 123454E-92 NuU 17847E-152
119
Table D 1 Contmued
Blue-Green Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
u 15
213 21 11 3 4 1 1 0 0 5
80 13 7
67 12 4
29 42
528
264 264 264 264 264 264 264 264 264 26 4 26 4 264 264 264 264 264 264 264 264 264
BROWN Actual Anger Anxiety Calm Compassion Contempi Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 14 61 27 16 79 57 7
16 14 4
17 4 3
11 41 20 40 5
85 528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264 264 2E4 264 264 264
BURNT ORANGE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
33 69 39 23 28 13 53
3 8 8 3
11 30
3 27 35
7 37 13 85
528
264 264 264 264 264 264 264 264 264 264 264 264 26 4 264 264 26 4 264 264 26 4 264
DARK BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
3 16 66 10 10 81 71 19 42 5 8
14 5 9
39 58 10 9 4
49 528
264 264 264 264 264 264 26 4 264 26 4 26 4 26 4 26 4 264 26 4 264 264 264 264 264 264
NuU 0 Nuh 165248E-87 NuU 478672E-66 NuU 276076E-88
120
Table D 1 Continued
DARK GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 15
110 33
t
40 49
e 27 6 8
11 21 4
20 77 10 24
1 53
528
264 26 4 26 4 264 264 26 4 264 26 4 26 4 264 264 26 4 264 264 264 26 4 264 264 264 264
DARK RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
62 37 56 18 13 0
63 7 0 2 9 0
64 65 49 19 5
14 24 21
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
DARK PURPLE Actual Anger Anxiety Calm Compassion Contempt Depression Delermination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 15 52 43 7
16 27 6
15 1 2 6
54 30
121 58 11 4
17 38
528
264 26 4 26 4 264 26 4 264 264 264 264 26 4 264 26 4 264 264 284 26 4 264 264 264 264
GOLD Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise Other
6 54 19 20 23 9
32 5 0 6 0 9
127 12 32 37 IB 21 42 56
52B
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 62188E-107 Null 391152E-79 NuU 19813E-115 NuU 23817E-115
121
Table D 1 Continued
GRAY Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 22
108 9 4
111 20 6
38 20 0
40 0 0 5
32 33 40 2
38 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LAVENDER Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 41 6
26 5 4 4 2 1 1 2 6
171 22 22 23 25 7
100 57
528
264 264 264 264 264 264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264
LIGHT BLUE Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9
211 44 2 5 3 1 0 2 0 7
78 35 11 55 30 3 9
23 528
254 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
LIGHT YELLOW Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 31
130 37 12 13 5 7 6 9 1
25 83 12 8
41 64 14 11 17
528
26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 26 4
NuU 6515E1146 Null 26303E-255 Null 0 Nulh 1287E-147
122
Table D 1 Continued
LIME GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflet^tion Shyness Sulkiness Surprise Other
2 85
9 6
22 1
19 2 0 6 6 6
86 6
11 12 6 3
156 84
526
264 264 26 4 26 4 26 4 264 264 264 264 264 264 26 4 26 4 264 26 4 26 4 264 26 4 264 264
MAGENTA Actual Anqer Anxiety Calm Compassion Contempt Depression Delermination Fear Gnef GulH Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
50
as 10 22 15 5
70 15 7 4 7 2
66 92 53 11 8 7
20 29
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
MINT GREEN Actual Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempi Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sunsrise Other
1 148 33 33 14
1 7 4 0 6 2
16 82 6 5
38 37 6
34 55
528
264 264 264 264 264 264 264 264 264 264 264 264 364 264 264 264 264 264 264 264
ORANGE Actual Anqer Anxiety Calm Compassion Contempt Depression Detemilnation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
38 71 7
16 23 3
71 18 2 7
14 7
73 20 43 16 3 8
46 42
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 16322E-257 NuU 37946E-92 NuU 87507E-185 Nuh 278296E-75
123
Table D 1 Continued
PINK Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Jov Love Pride Reflection Shvness Sulkiness Surprise Other
3 13 72 56 10 12 3 1 2 4 1
20 51
108 10 21 86 13 10 32
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
RED Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guih Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
68 75 4 6 6 0
51 10 5 4 6 3
83 71 51 5 2 1
43 34
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
SAP GREEN Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
5 25
111 40 16 10 48 4 6
14 5 6
34 8
30 66 3
15 12 70
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 36168E-138 NuU 2613E-122 NuU37973E-lll
124
Table D I Contmued
YELLOW Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
6 51 17 10 16 5
13 4 2 1 1 3
226 9 7
16 15 11 99 16
528
264 264 264 26 4 264 264 264 264 264 26 4 264 26 4 26 4 264 264 264 264 264 264 264
WHITE Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
3 25
108 18 5
13 6 9
17 3 2
49 16 13 17 66 34 12 15 97
523
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 63992E-130
125
Table D2 Himian Poses
POSE NO 1 Aitual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 79 0 2
26 23 21 94
6 7 1
37 4 0 6 3 6
12 174 18
527
2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635 2635
POSE NO 2 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
218 25
82
58 10
83
29 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 3 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
195 21 3 5
125 0
19 0 4 6
15 15 0 0 4
11 0
74 0
31 528
264 264 264 264 264 264 264 264 264 2G4 264 264 264 264 264 264 264 264 264 264
NuU 7172E-272 NuU 0 Null 0
126
Table D2 Continued
POSE NO 4 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
120 50
1 5
118 2
137 3 2 5 2 5 0 0 1 5 0
10 7
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 5 Actual Anger Anxiety Calm Compassion Contempt Depression Oetemnination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 17 0
25 0
212 0 6
52 14 0
51 0 0 0
52 36 53 0
10 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 6 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
19 103
0 26 22 20 0
53 64 47 6
54 0 0 0 8
50 7
11 28
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 84023E-302 Null 0 NuU37973E-lll
127
Table D 2 Continued
POSE NO 7 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 13 55
9 0
227 0
17 39
3 0
114 0 0 0
11 9
11 0
20 528
264 264 264 264 264 264 264 264 264 264 26 4 264 254 264 264 264 264 264 254 264
POSE NO 8 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 0 1 0 0 0 0 0 0 0 0 6
495 0 3 1 2 0 9
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 9 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4
160 0
16 0
70 1 1 0 0 6 3 0
122 80
9 2 6
48 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 0 NuU 0
128
Table D2 Continued
POSE NO 10 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
8 250
12 1 1 9 8 2
13 27 53
1 1 0 7
83 10 7 3
32 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 11 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 26 0 5 3 1 8
213 19 2 0
17 60
2 2
16 0 0
141 13
528
264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 254 254 264 264 264 264
POSE NO 12 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 1 6
27 0 0 3 0 0 0 0 1
35 423
0 0
20 0 2
10 528
264 264 264 264 254 264 264 264 254 254 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Null 0
129
Table D2 Continued
POSE NO 13 Actual Artier Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 147
1 18 9
28 1
14 47 45 0
32 0 0 1
95 67 8 1
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264
POSE NO 14 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
245 13 0 0
31 0
205 D 0 0
16 0 0 0
10 0 0 0 0 B
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO IS Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 2 6 0 0 0 6 0 0 0 0 0
460 8 9 0 0 0
27 10
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 11123E-213 NulhO NuU0
130
Table D2 Continued
POSE NO 16 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 154
0 7 0
53 6
18 100 25 0
55 0 0 0
40 15 15 3
30 528
264 264 264 264 264 26-4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 17 Actual Anger Anxiety Calm Compassion Contempi Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surpnse Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse Other
0 10 44 0 7 0
68 0 0 0 0 4 0 0
360 16 6 D 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 2B4 264 264 264 264 264
POSE NO 18 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sumrise Other
349 17 0 3
60 0
40 3 0 0
41 1 0 2 1 5 0 0 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 24989E-226 NuU 0 Null 0
131
Table D2 Continued
POSE NO 19 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxietv Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 4 0
430 2 5 2 0
45 2 0
18 1 0 0 0 0 0 0
19 528
264 264 264 264 254 264 264 264 254 264 264 264 254 264 264 264 264 254 264 254
POSE NO 20 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 9 0
21 1
76 3 5
210 2 0
192 0 0 0 3 0 2 0 4
528
264 264 264 264 264 264 254 264 264 264 264 264 264 264 264 254 264 264 254 254
POSE NO 21 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer jAnxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
4 37 5
138 3 1
61 14 3 7 3
32 34 ID 8 2 2 0
114 50
528
264 264 2B4 264 264 264 264 264 264 254 264 254 254 264 264 264 264 264 264 264
Null 0 Null 0 NuU 7817E-216
132
Table D2 Continued
POSE NO 22 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guitt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
0 46 15 12 0
48 2 7
65 20 2
19 0 1 0
262 6
19 1 3
528
264 264 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 23 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Sun rise Other
1 131 52 3 6 3
14 15 5
29 1
45 0 0 3
61 65 14 13 67
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 24 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 10 20 5
20 0
57 1 0 0 1 5 0 1
27 354
6 7 0
12 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 NuU 26067E-165 NuU 0
133
Table D2 Contmued
POSE NO 2S Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
1 73
1 13 1
75 2 4
132 62 0
45 2 1 0
89 4
17 0 6
528
264 264 264 264 264 264 264 264 264 264 264 264 264 254 264 264 264 264 264 26 4
POSE NO 26 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Sunirise Other
0 4 1 2 2 0 0 0 0 2 0 1
2CM 4 3 0 1 0
297 7
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 27 Actual Anger Anxiety Calm Compassion Contempt Depression Determmation Fear Grief Guilt Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiK Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
91 30 3 4
70 23 28 5 1
16 6 6 0 0 2
31 9
190 2
11 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
NuU 3746E-219 NuU 0 NuU 47017E-303
134
Table D2 Contmued
POSE NO 28 Actual Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Gnef Guilt Hatred Helplessness Joy Love Pnde Reflection Shyness Sulkiness Surpnse other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Jov Love Pnde Reflection Shyness Sulkiness Surprise other
4 4 9 1
15 0
103 1 0 3 2 2
58 1
306 4 1 2 4 8
528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 29 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkmess Surprise other
0 26 27 6 2 5
20 6
10 9 0 8 2 0 1
379 7 6 0
14 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 30 Actual Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Detennination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise other
41 26 16 4
113 4
71 0 4 3 2
16 0 0 7
93 8
93 0
27 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
Null 0 Null 0 Nun42734E-188
135
Table D2 Continued
POSE NO 31 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GuiH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anqer Anxiety Calm Compassion Contempt Depression Detemnination Fear Gnef GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
7 10 24
283 25
1 9 0 2 4 0 3 0
20 0
58 13 12 2
55 528
264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264 264
POSE NO 32 Actual Anger Anxiety Calm Compassion Contempt Depression Determination Fear Gnef GuiH Haired Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
Expected Anger Anxiety Calm Compassion Contempt Depression Determination Fear Grief GulH Hatred Helplessness Joy Love Pride Reflection Shyness Sulkiness Surprise Other
2 65 22
7 1
31 Q
15 7
30 0
65 0 1 0
30 234
11 0 7
528
264 264 264 2S4 264 264 264 26 4 264 264 264 264 264 264 264 264 264 264 264 264
NuU 0 NuU 0
136
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