When we write about a character's emotional experience, we need to make it resonate with the reader. The emphasis on that particular emotion should be as dramatic as its relevance to the story. If a character is struck with a wave of very loving feelings, it's always worth expanding upon; we just need to make sure that this matches the tone of the story. If the story is about a young person and their first time falling in love, well, that sensation should be painted all across the page. Every sense should be alive with wonder and excitement. Sounds should be clear and joyful, smells new and vibrant. When the character walks to work, deeply breathing in the traffic fumes and thinking about how exciting and fascinating city life is, the reader will know the character is in love. However, if the story is about a cop digging through a cold case unrelated to his life, that love thing might not need as much text.
The other important part of emotional description is personalizing it. Those previous similes about the pit in the stomach and so forth are good, but they're not very personal. They signal an emotional situation, but little else. When storytelling works well, everything brings out another facet of the character. This also counts as part of their emotional perception. When that character feels angry, what do they focus on? What changes in their perception? If they just see red, well, that's something, but it can be so much better. When the person gets angry does he remember something? That one person who betrayed him? The one time he failed to save the day? A horrible childhood memory he's never been able to resolve? As those are incorporated, they condition the reader. The character gets angry, those memories click in, and the reader takes note. Eventually, the reader is noticing when those cues show up, and they are considering how the character will be affected. Once the reader is that engaged with the character, you've done your job as a writer.