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The impact of colour is acknowledged within the marketing field. However, research on colour communication is limited, with most prior studies focusing on pre-defined meanings or colour associations. The purpose of this paper is to reveal insights into colour meaning and propose an alternative view to understanding colour communication.

The study takes a conceptual approach and proposes Peircean semiotics to understand colour communication. The proposed framework is applied to analyse a set of colour meanings detected by prior colour research.

The study elucidates the underlying mechanism of how colour is read and interpreted in various marketing activities, and how meaning is conveyed. This study addresses this mechanism by identifying colour semantics and colour as a symbolic, iconic and indexical sign.

The study contributes to the scholarly knowledge of colour in marketing. It enriches the understanding of how consumers interpret representations of single visual signs expressed in contexts such as products, brands and brand packaging to make informed product decisions.

By understanding consumer interpretation as a stage in the communication process, marketers can develop more informed marketing activities to communicate the intended meanings. This may well strengthen the brand identity and contribute to the perceived brand value.

By elaborating on how colours convey meanings and the mechanism that explains such meanings, this study demonstrates that colour meaning is far more than mere association. The study contributes to the current knowledge of colour by facilitating a deeper understanding of how consumers interpret representations of single visual cues expressed in various contexts.

Research has largely disregarded consumer–packaging interaction in contexts other than retail. Focusing on the powerful cue of colour and consumers’ pleas for sustainability and drawing on the customer journey and moments of consumption, this study investigates how packaging colour meanings are redefined from retail to home and how the meaning of sustainability for colour transforms.

A qualitative methodology was employed with 27 informants, who were interviewed in pairs or in small groups of three.

First, colour meanings emerge outside the retail context, confirming the idea of the packaging journey. Colours are dynamic, as meanings are redefined throughout the voyage. In retail, colour conveys brand, product, environmental and origin-related meanings, while at home it conveys product, food- and health-related meanings. At the end of the journey, colour communicates disposal, environmental, health and origin-related meanings. Second, the meaning of sustainability for colour transforms during the voyage from being conveyed by a colour hue to being perceived as a material and, therefore, as a waste and recycling concern.

The study adds insight into the role of colour in the packaging life cycle, wherein colour transforms from a visual packaging cue to an issue of materiality. The recyclability of colours is a prevailing sustainability issue that deserves attention within the packaging industry. The study argues that although the consumer–packaging interaction in the retail context is essential, managers should recognise that the interaction continues with colours from in-store purchase decisions to consumers’ homes (use and recycling).

The impact of colour is acknowledged, yet empirical studies on colours with marketing implications are rare. The paper seeks to advance our understanding of the role of package colours in consumers' product experiences by studying the relationship between colour meanings and product. It also aims at offering insights into the meanings associated with colours in a product context.

Understanding of package colours was elicited by applying the preference‐consumption difference interview technique. The data were analysed applying means‐end chain. Accordingly, it was possible to detect, not only the multifunction played by package colours, but also meanings that colours conveyed at different abstraction level. As colour research within marketing was fragmented and no such colour theory exists, the paper developed a theoretical framework for the paper.

Based on the evidence, the proposed framework is further elaborated so that it could better capture the connections between colour and consumers' product experiences. Hence, the paper supports the significance of the functions emphasised by past research and uncovers the qualitative connections between packages colour meanings and product type.

Future research should extend the size of the sample, types of products, geographical area, and colours.

The evidence shows that colours should be carefully considered when launching new brands or, indeed, when brand packages are redesigned, the multifunction of colours should be taken into consideration.

The paper covers an area neglected by past research, which has implications for understanding consumers' brand preferences.

This research is interested in how dynamics in negotiating cultural meanings in the globalizing market place in China become visible in one particular aspect of culture: colour culture. The purpose of this paper is to explore the provenance of some of the many potential meanings invested in colours in contemporary China, and how and why these influence international business, communication, design and marketing management in particular.

A qualitative empirical study with ambition for an emic cultural approach to Chinese colour culture. Narrative analysis of accounts by Chinese colour professionals participating in a focus group interview, and by individually interviewed managers with extensive experience in Sino‐Finnish business are reported in narrative format.

The findings support the proposed existence of a phenomenon which the author has named “Colour culture” – a cultural set of meanings that are invested in colours. Unexpectedly, the empirical study proposes a strong tendency towards these meanings being value based in China. Visual manifestations of cultural values appear to be dynamic and dependent on context.

The current study does not offer generalizable prescriptions for contextual colour usages. The explorative, qualitative nature of this study serves as a basis for contextual and quantifiable future research on the phenomenon.

Since, for the Chinese, colours manifest cultural values and are highly emotional, not only linguistic, but also visual translation of communication is needed. For international communication, design and marketing managers, this further implies a need for contextual understanding of local colour culture.

Recognizing the existence of colour culture and its value‐based proposition in China opens up new research avenues and practical considerations for cross‐cultural studies.

The purpose of this paper is to explore a semantics representation framework for narrative images, conforming to the image-interpretation process.

This paper explores the essential features of semantics evolution in the process of narrative images interpretation. It proposes a novel semantics representation framework, ESImage (evolution semantics of image) for narrative images. ESImage adopts a hierarchical architecture to progressively organize the semantic information in images, enabling the evolutionary interpretation under the support of a graph-based semantics data model. Also, the study shows the feasibility of this framework by addressing the issues of typical semantics representation with the scenario of the Dunhuang fresco.

The process of image interpretation mainly concerns three issues: bottom-up description, the multi-faceted semantics representation and the top-down semantics complementation. ESImage can provide a comprehensive solution for narrative image semantics representation by addressing the major issues based on the semantics evolution mechanisms of the graph-based semantics data model.

ESImage needs to be combined with machine learning to meet the requirements of automatic annotation and semantics interpretation of large-scale image resources.

This paper sorts out the characteristics of the gradual interpretation of narrative images and has discussed the major issues in its semantics representation. Also, it proposes the semantic framework ESImage which deploys a flexible and sound mechanism to represent the semantic information of narrative images.

The purpose of this research is to investigate whether the brand name–mark sound symbolism relationship extends beyond US marketplaces to emerging markets. Sound symbolism research indicates that consistent brand name meaning can be conveyed across international marketplaces. Yet, prior work has not investigated whether visual branding elements provide consistent meaning across such contexts.

To contrast effects across international contexts, we replicate both studies of Klink (2003) with bilingual subjects in Mumbai, India. Study 1 examined whether the sound symbolic relationship between brand name and brand mark holds in this emerging market. Study 2 investigated whether both the brand name and brand mark together can enhance brand meaning in this context.

Study 1 finds support for the relationship between higher-frequency brand names and brand marks that are angular and smaller in size, with limited support regarding color. Study 2 finds a significant effect for brand marks and a marginally significant effect for brand names on conveying intended meaning.

The authors confirm the relationship between the brand mark and brand name; however, color meaning may be less universal than prior theory and research indicates. In addition, the effect of the brand name on conveying sound symbolism meaning may be less important than visual branding elements in emerging markets. Hence, future research may wish to include additional branding elements in experimental stimuli when testing sound symbolism theory.

This paper aims to examine how client requirements undergo representational and transformational shifts and changes in the design process and explore the consequence of such changes.

A series of design resources relating to hospital departmental configurations are examined and analysed using a social semiotic framework. The findings are supplemented by practitioner opinion.

Construction project requirements are represented and transformed through semiotic resource use; such representations deliver specific meanings, make new meanings and affect project relationships. Requirement representations may be understood as socially motivated meaning-making resources.

The paper focuses on one set of project requirements: hospital departmental configurations from a National Health Service hospital construction project in the UK.

The use of semiotic resources in briefing work fundamentally affects the briefing and design discourse between client and design teams; their significance should be noted and acknowledged as important.

The findings of the paper indicate that briefing and design work may be understood as a social semiotic practice.

This original paper builds upon scholarly work in the area of construction project communications. Its fine-grained analysis of briefing communications around representations of specific requirements is novel and valuable.

This study aims to investigate the effect of color temperature on consumption. Color is one of the most powerful elements of sensory marketing. However, how warm and cool colors drive consumer indulgence and interact with other visual cues is minimally understood.

This research conducts six experiments to investigate the effect of eight warm and cool colors and the effect of warm/cool color’s interaction with reflectance on indulgent consumption/use in various retail environments.

Studies 1a and 1b support the contrasting effects of warm vs cool colors on consumers’ indulgent consumption. Studies 2a and 2b establish the serial mediating role of arousal and self-reward focus in the color-indulgence relationship. Study 3a demonstrates the interactive effect of warm (vs cool) colors and glossy (vs matte) reflectance on consumer indulgence, and Study 3b confirms how glossy (vs matte) reflectance moderates the serial mediating effect of arousal and self-reward focus in the color-indulgence relationship.

This research contributes to the growing stream of research on the visual aspect of sensory marketing, especially color, and advances the theoretical knowledge of how color could be used effectively to influence consumer indulgence.

This research provides actionable managerial implications on the effective use of warm and cool colors and glossy and matte reflectance to influence consumer indulgence.

This research advances the theoretical and empirical knowledge of color’s interaction with other visual sensory cues and the underlying psychological processes shaping consumer indulgence.

The colors of change is an overview of change paradigms, created about two decades ago, that has been intensively used, tested, refined, shared, and elaborated by practitioners and academics alike. Here, the “color theory” is presented as it is now, and is situated within the literature. Its four main applications are described as well as rules of thumb that have been derived from reflective practice. This chapter illustrates that the color theory is clearly not one thing to all people, as it is understood in very different ways, both in terms of its theoretical foundations as well as the complexity of its applications. This probably adds to the versatility of the theory. Bringing together key insights about the color theory for academics and practitioners, this chapter strives both to give a concise overview and to explore its richness.

The Lüscher colour test is used to compare colour associations in China, South Korea, Japan and the United States. Respondents were asked which colour they associate with words such as expensive, happy, love and dependable. They were also asked to relate the colours to countries, such as Italy and France; institutions, such as restaurants and theatres; and product packages, such as a soft drink label and a box of headache remedy. The findings show that, while some colours seem to show cross‐cultural consistency, other colours, such as purple and grey, hold opposite meanings in different cultures.