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Descriptive or random titles do not show any of these effects. [10] Furthering the thought that pleasure in art derives from its comprehensibility and processing fluency, some authors have described this experience as an emotion. [11] The emotional feeling of beauty, or an aesthetic experience, does not have a valence emotional undercurrent.
When making color decisions, it is important to determine the target audience in order to convey the right message. Color decisions can influence both direct messages and secondary brand values and attributes in any communication. Color should be carefully selected to align with the key message and emotions being conveyed in a marketing piece. [41]
The 1950s saw the distillation of International Typographic Style elements into sans-serif font families such as Univers. Univers paved the way for Max Miedinger and collaborator Edouard Hoffman to design the typeface Neue Haas Grotesk, which would be later renamed Helvetica. The goal with Helvetica was to create a pure typeface that could be ...
Naming the font color of a word is a slower and more difficult task if word and font color are mismatched (top) than if word and font color are unrelated (bottom). In psychology, the Stroop effect is the delay in reaction time between neutral and incongruent stimuli.
Most East Asian characters are usually inscribed in an invisible square with a fixed width. Although there is also a history of half-width characters, many Japanese, Korean and Chinese fonts include full-width forms for the letters of the basic roman alphabet and also include digits and punctuation as found in US ASCII. These fixed-width forms ...
Only if such fonts are not available should [citation needed] the effect of italic or boldface be imitated by algorithmically altering the original font. The modern Latin-alphabet system of fonts appearing in two standard weights, with the styles being regular (or "Roman"), italic, bold and bold italic is a relatively recent development, dating ...
Emotion classification, the means by which one may distinguish or contrast one emotion from another, is a contested issue in emotion research and in affective science. Researchers have approached the classification of emotions from one of two fundamental viewpoints: [citation needed] that emotions are discrete and fundamentally different constructs
The concept of a work's tone has been argued in the academic context as involving a critique of one's innate emotions: the creator or creators of an artistic piece deliberately push one to rethink the emotional dimensions of one's own life due to the creator or creator's psychological intent, which whoever comes across the piece must then deal ...