However, there are a number of objective associations that have come from the depths of time, are firmly entrenched in the unconscious of a person and are transmitted genetically from generation to generation. We are talking about the connection of orange-yellow colors with the sun, warmth and energy, blue-blue — with the sea, sky, peace. This has left its mark even on culture (mainly the culture of Europe and the Americas): we have a hard time imagining something calm in red, dry in blue-green, and light, “airy” in brown. Color is poorly defined in those states when a person’s consciousness becomes unstable (severe fear, anxiety, agitation, pain, or feeling unwell). Color detection is also difficult in semi-darkness or in blinding light. That is why witnesses of various incidents or crimes often find it difficult to describe the color of people’s clothes, objects, or surroundings. Over the many thousands of years of his existence, man has learned to be afraid of the dark, from which various troubles descended on him (enemies, wild animals, etc.). Black and dark blue colors were associated with darkness. This associative connection has entered genetically into the collective unconscious of people, and therefore these colors cause them feelings of fear, insecurity and oppression. Bright and light colors, on the contrary, either amuse (especially orange and yellow close to sunlight), or soothe (like natural green and blue). For centuries, humanity has gained clear knowledge: day is a time of maximum security and action, therefore, the colors of the spectrum associated with it cause excitement, a surge of strength and joy. Evening, dusk, and especially darkness at night are dangerous times, so the colors associated with it cause feelings of anxiety, uncertainty, and mystery. The habit of perceiving light tones from above and dark ones from below also comes from Nature: the “light” blue and yellow colors are always higher in it, and the dark ones — black, brown, green and red — are located at the bottom. Achromatic colors are lifeless, they are in no way associated with any emotional states (fun, sadness, liveliness, etc.). These are the abstract colors of Time and Space (the black abyss of Space and the dazzling whiteness of the Sun). Even physiologically, the human eye sees colors differently in strong and low light (the so-called Purkinje effect): In strong light, the cones of the eye are mainly involved in the visual act, which are most sensitive to yellow (day). In low light conditions, the sticks that are most sensitive to blue-green color (night) play a leading role. Therefore, the perception of color in semi-darkness is different: red appears very dark, while blue and green-blue appear very light.

All changes in sensations occur in strict accordance with the chromatic circle.   There are several sensations that obey this law.: I. Feelings of warmth and cold The colors of the red-yellow part of the spectrum evoke feelings of warmth, the colors of the blue-blue part of the spectrum evoke feelings of cold. Special studies conducted in the USA have shown that these are sensations and nothing else: although the blue surface seemed to the subjects several degrees colder than the orange one, in reality their temperature was the same. However, the perception effect was such that people who looked at and felt the orange surface had an increased pulse rate and increased blood pressure. The maximum sensation of heat falls on orange, while the laws of psychology clearly differ from the laws of physics — because red, which gives the impression of being cooler, has a longer wavelength and should heat up more. It turns out that the psychological laws of perception, which have linked the sensations of heat and light with the orange color of the sun for many centuries, turned out to be stronger than the laws of physics. II. Feelings of arousal and calmness, activity and passivity They are clearly related to the place of color in the chromatic circle. The most exciting effect is red, which is also perceived as the most active color. When moving in a circle towards purple, the calming effect increases further, and when moving in a circle towards orange and yellow, the feeling of activity and aggressiveness decreases, but the feeling of lightness and joy increases. The balance in both cases falls on the green color, which combines the lightness and vivacity of yellow with the calmness and heaviness of blue. Apparently, this is not accidental, because green is the color of nature, and green meadows and forests smooth out the contrast between the yellow sun and blue water. Since ancient times, the flora has sheltered a person from enemies, giving him a sense of confidence, security, reliability and tranquility. When combining active and passive colors, it should be borne in mind that the former are always perceived more vividly and remembered better. Therefore, they must be given in smaller doses to achieve balance. III. Feelings of time and space The greatest sense of distance from the object (that is, an increase in space) is created by the colors of the blue-blue part of the spectrum. The orange-yellow colors opposite to them give the effect of objects approaching the observer. The perception of time also slows down in the light of blue-blue colors until it feels completely stopped. The colors of the chromatic circle on both sides of this sector create the impression of time acceleration. This sensation reaches its maximum in the area of yellow and orange colors. IV. Feelings of heaviness and lightness The colors of the blue-blue part of the chromatic circle are perceived to be the heaviest. Then, on both sides of it, this sensation decreases and reaches a minimum in the yellow area, which looks the lightest and most airy. In the course of special experiments, it was found that the boxes painted yellow seemed lighter to the workers when they were carried than the blue ones, which were equal in volume and weight. The law of change in the chromatic circle is governed not only by simple mental processes (such as perception and sensations), but also by more complex ones, such as sexual activity. It is smallest in the blue-blue sector of the chromatic circle, then increases in the form of latent excitation in purple and reaches its greatest expression in red, where it becomes open. Thus, the place of color in the chromatic circle determines many features of its perception: from red through purple to blue, feelings of strength, warmth and activity decrease and feelings of calmness, remoteness and coldness increase. As you move from blue to green, your feelings of strength, depth, and balance increase. When moving from red in the opposite direction — through orange and yellow, the sensations of heaviness and activity decrease, but the feeling of warmth and lightness increases. And a further transition to green leads to feelings of calmness and balance. It turns out that it is the green color of nature that is, as it were, the center of balance of the entire chromatic circle. The relationship between color perception and other types of perception Perceived purely visually, color also affects sensations coming through other sensory channels (smell, touch, taste, etc.), and those, in turn, also affect color perception. When combined with a loud sound or a pungent smell, the color is perceived more vividly (which is useful to remember for women of fashion who use harsh perfumes and bright colors of clothing). The work of the visual receptors reflexively increases with loud sounds, and then even calm colors look brighter and can irritate. So, the orange color against the background of soft, quiet music is perceived to be lighter and “yellower”, and against the background of loud music, it acquires the aggressiveness and sharpness of Red. Gloomy and gloomy music makes you perceive red as dark, and green as blue-green (ultramarine). Even the calm yellow color against the background of loud music starts to make you nervous. Loud sounds are stopped by green, gray-green, or swampy colors (silence in swamps is not only the softness of the hummocks that hides the sound, but also the color of grass and water). Temperature sensations also largely depend on the color: sitting in a red chair is “warmer” than in a blue one, and in an orange room the air temperature is perceived several degrees higher than in a blue one. Taste sensations are also closely related to color: red enhances the sweet taste, yellow — sour (which leads to increased salivation and a reflex increase in appetite). The green color enhances the sour feeling even more (apparently, the centuries-old experience of eating unripe fruits is firmly fixed). Blue generally creates a feeling closer to bitter. These patterns are taken into account in confectionery production. One of the enterprising candy manufacturers noticed that red lollipops seem sweeter than yellow ones and even more so than green ones. He reduced the sugar content in them and earned a fortune from these savings. Source: Breslav G.E. “Color psychology and color therapy for everyone”