Hue shift of induced colour as a function of luminance relations

The hue of induced colour was studied as a function of surround/test field luminance ratio using a chromatic surround and an achromatic central test field. The hue of the test field was determined by means of colour naming methods. Three inducing colours were used: blue (Wr No. 47), green (Wr No. 58), and red (Wr No. 25). The number of subjects was 9–11 in the two experiments. The luminance ratio (ranging from 0.07 to 17.1) was varied by varying the luminance of the test field (Experiment 1) or of the surround (Experiment 2). For the blue surround the results show a hue shift in accordance with the Bezold-Brücke phenomenon. For the inducing colours green and red the induced colours are weak, and the hue shifts are more or less unsystematic though there are individual subjects showing a trend in the Bezold-Brücke direction. It is concluded that the hue shifts depend on the luminance relations rather than on the test field luminance.     

PSYCHOPHYSICAL INVARIANTS OF ACHROMATIC COLOURVISION. V

LIE, I. Psychophysical invariants of achromatic colour vision. V. Brightness as a function of inducing field luminance. Scand. J. Psychol. , 1971, 12, 61–64.– Brightness (the dim-bright dimension) of achromatic colour was investigated as a function of surrounding field luminance. It was found that brightness of a test area was relatively independent of luminance level of the surrounding area until the luminance of the latter had passed well beyond that of the test area. With further increase of surrounding luminance, the brightness of the test area increased rapidly.     

THE UNIDIMENSIONAL CONCEPTION OF SIMULTANEOUS ACHROMATIC CONTRAST

H eggelund P. The unidimensional conception of simultaneous achromatic contrast. Scand. J. Psychol ., 1972, 13 , 66–70.—The perceptual changes involved in simultaneous achromatic contrast have been presumed to be specifiable as variation in brightness alone. This conception was not supported when attempts were made to produce identical appearance of two achromatic fields, with different inducing luminance, by varying the luminance in one of them. It was possible to match with respect to either achromatic quality or colour strength, but when matched with respect to quality the fields differed in strength, the field of lowest luminance appearing weaker.     

Effects of algebraic and absolute luminance differences on achromatic surface grouping

The algebraic luminance difference corresponding to a uniform achromatic surface on a uniform achromatic background determines the dark or light quality and the extent of this quality in the achromatic colour of the surface, while the absolute value of this difference determines the amount of perceived contrast between the achromatic colours of the surface and of the background. The results of an experiment designed to test whether grouping of achromatic surfaces depends on one or on both of these differences are here reported. Grouping was found to depend prevailingly on algebraic luminance difference in some subjects, prevailingly on absolute luminance differences in other subjects, and on both of these differences with similar probabilities in still other subjects.     

Perception of illumination

Abstract.— Previous research on the perception of illumination has primarily been occupied with the apparent paradox that "we must know the object colour in order to utilize the reflected light as an index of illumination, while we must know the illumination in order to use the reflected light as an index of object colour". The present study shows this paradox to exist only as a long as the traditional one-dimensional conception of achromatic colours is maintained. Two experiments are reported. In Exp. 1 it is shown that by mere variation of the luminance difference of two adjacent areas, a consistent shift in colourlshadow discrimination is obtained; i.e. within a certain range of luminance differences the observer may find it difficult to decide whether the difference is one of colour (two fields of different greyness in common illumination) or one of illumination (two fields of equal greyness under different illumination), above this range the observer perceives the differences as one of illumination. Taking the bidimensionality of achromatic colours into account in Exp. 2, results are obtained which show the brightness (alternatively termed luminosity) relations of adjacent areas to be the critical factor for the perceptual shift.     

Chromatic induction as a function of luminance relations

Chromatic induction by red, green, and blue surround was studied as a function of surround/test field luminance ratio using a compensation method. Luminance ratios from 0.01 to 28.7 were used. The number of subjects was 8–10 in the three experiments. The results show maximum induction to appear at a luminance ratio around 1.0 when varying the test field luminance (Experiment 1) and at higher ratios when varying the surrounding luminance (Experiments 2 and 3). This difference is discussed in relation to the Kirschmann-Kinney controversy (Kirschmann, 1890; Kinney, 1962) and in relation to an earlier study using a magnitude estimation method (Bergström & Derefeldt, 1975).     

PSYCHOPHYSICAL INVARIANTS OF ACHROMATIC COLOUR VISION: I. The multidimensionality of achromatic colour experience

L ie . I. Psychophysical invariants of achromatic colour vision. I. The multi-dimensionality of achromatic colour experience. Scand. J. Psychol ., 1969, 10, 167–175.—The literature relevant to the question of multidimensionality of achromatic colour is briefly reviewed. An experiment confirms that the achromatic scale is bidimensional, and indicates that the dimension of brightness is a direct function of the luminance of the local area inspected, while the dimension of whiteness is a direct function of luminance relations of adjacent areas in the visual field.     

Edges,colour and awareness in blindsight

It remains unclear what is being processed in blindsight in response to faces, colours, shapes, and patterns. This was investigated in two hemianopes with chromatic and achromatic stimuli with sharp or shallow luminance or chromatic contrast boundaries or temporal onsets. Performance was excellent only when stimuli had sharp spatial boundaries. When discrimination between isoluminant coloured Gaussians was good it declined to chance levels if stimulus onset was slow. The ability to discriminate between instantaneously presented colours in the hemianopic field depended on their luminance, indicating that wavelength discrimination totally independent of other stimulus qualities is absent. When presented with narrow-band colours the hemianopes detected a stimulus maximally effective for S-cones but invisible to M- and L-cones, indicating that blindsight is mediated not just by the mid-brain, which receives no S-cone input, or that the rods contribute to blindsight. The results show that only simple stimulus features are processed in blindsight.     

The relation of lightness and stereoscopic depth in a simple viewing situation

The effect of stereoscopic depth on perceived lightness was studied using a simple, achromatic stimulus arrangement. In Experiment 1, depth/lightness interactions were sought between a single test field and a single induction field. In Experiment 2, depth/lightness interactions were looked for between a single test field and two induction fields. Stimuli were presented on a computer screen and viewed with a stereoscope. The subjects reported perceived lightness of the achromatic test field by rating its apparent blackness along a dimension of 0%–100%. In Experiment 1, they reported lightness judgments of the test field across 13 perceived depth levels and 8 contrast levels. In Experiment 2, they gave lightness judgments of the test field across 7 perceived depth levels and 16 contrast levels. We were particularly interested in observing the generality of Gilchrist’s coplanar ratio hypothesis. The results showed that when stereopsis and contrast levels are the available cues, depth and lightness percepts are independent, and it is retinal ratios, not coplanar ratios, that dictate lightness perception. We conclude that before the relative depth location of an object is determined, its lightness value is known through sensory-level processes.     

An exploratory study of linguistic–colour associations across languages in multilingual synaesthetes

In one of the most common forms of synaesthesia, linguistic–colour synaesthesia, colour is induced by stimuli such as numbers, letters, days of the week, and months of the year. It is not clear, however, whether linguistic–colour synaesthesia is determined more by higher level semantic information—that is, word meaning—or by lower level grapheme or phoneme structure. To explore this issue, we tested whether colour is consistently induced by grapheme or phoneme form or word meaning in bilingual and trilingual linguistic–colour synaesthetes. We reasoned that if the induced colour was related to word meaning, rather than to the acoustic or visual properties of the words, then the induced colours would remain consistent across languages. We found that colours were not consistently related to word meaning across languages. Instead, induced colours were more related to form properties of the word across languages, particularly visual structure. However, the type of inducing stimulus influenced specific colour associations. For example, colours to months of the year were more consistent across languages than were colours to numbers or days of the week. Furthermore, the effect of inducing stimuli was also associated with the age of acquisition of additional languages. Our findings are discussed with reference to a critical period in language acquisition on synaesthesia.     

Induction in variants of White's effect: common or separate mechanisms?

In White's display the gray target surrounded more by black than white appears darker than the target of the same physical luminance surrounded more by white than black. Several subsequent studies have shown that this effect occurs only when the luminance of the test regions lies between the minimum and maximum luminance values of the inducing stripes. With targets either lighter or darker than both inducing stripes, the direction of the effect is reversed and the effect is known as the 'inverted' White's effect. Views differ on whether the classical and inverted White's effects are mediated by common or separate underlying mechanisms. We varied the aspect ratio of the test and inducing regions in the classical and inverted White's effects. Consistent with previously reported findings, we found that the direction of the classical effect did not depend on the amount of black or white border in immediate contact with the test patch. On the other hand, perceived lightness in the inverted White's effect was affected by such variations, suggesting that induction in classical and inverted White's configurations is governed by different mechanisms. These results confirm the critical importance of the interaction between luminance and geometric relationships in induced brightness.     

Hue difference contours can be used in processing orientation information

In most studies of orientation processing, chromatic information and achromatic information have been combined or confounded. The present experiments investigated the relative sizes of tilt aftereffect induced by these two types of information. In these experiments, the tilt aftereffect is the error in adjusting a test contour to vertical, following the scanning of an inspection contour. For inspection and test contours identical except for orientation, the tilt aftereffects varied with inspection contour orientation but not with chromatic or achromatic condition. Smaller tilt aftereffects were obtained when the inspection contour was produced by a hue difference (chromatic information) and the test contour was produced by a luminance difference (achromatic information), or vice versa. These results indicate that achromatic and chromatic information is processed in a similar manner with respect to orientation. Furthermore, there is substantial, but incomplete, pooling of chromatic and achromatic orientation information.     

Colour specificity in episodic and in perceptual object recognition with enhanced colour impact

In three experiments we investigated the perceptual specificity of explicit (old-new object recognition) and implicit memory (word-picture matching) for colour. In order to enhance the impact of colour on processing, we increased the number of colours per object and we impaired shape information. We presented multicoloured pictures (Experiment 1), blurred and partially occluded pictures (Experiment 2) and coloured line drawings in visual noise (Experiment 3). Experiments 1 and 2 had an intentional study phase; the study phase of Experiment 3 was an incidental colour or category naming task. Changing colour from study to test always had negative effects on episodic recognition although colour was irrelevant. In contrast, in the matching task old pictures were generally matched faster than new ones independent of their colour congruence. In Experiment 3, an additional small advantage of congruent colours and of semantic processing occurred. We conclude that two different memory representations contribute to these tasks. Changes of an achromatic, more abstract representation, that is used in normal object recognition, and a representation of the specific exemplar that includes colour. This latter token is used in episodic recognition as well as in unusual perceptual tasks (Experiment 3).     

Luminance determinants of perceived surface stratification in two-dimensional achromatic transparent patterns

Two overlapping transparent surfaces forming a two-dimensional pattern stand out in front of each other alternately. Let y denote the luminance of the region where these surfaces overlap and b the luminance of the background. In achromatic patterns, the probability that the lighter transparent surface appears to be in front of the other surface is known to increase with y and with b. The present results show that grouping by achromatic colour similarity cannot explain the effect of b. An alternative conjecture is that the luminance factors that control perceived surface segregation can explain the effects of y and b. Such an explanation predicts a new effect: the probability that one transparent surface appears to be in front increases with the absolute difference in luminance between the surface and the background. The present results confirm this prediction.     

Absolute and relative effects of similarity and distance on grouping

Four experiments are reported, the aim of which was to explore the achromatic-colour and distance relations that determine the probability of achromatic surfaces grouping perceptually. The first two experiments were performed to test Wertheimer's conjecture that similarity and dissimilarity of achromatic colours jointly determine grouping. The results indicate that only similarity of achromatic colours determines grouping. Data from the other two experiments show that grouping is determined by absolute, relative, and Gillam's distances. These findings agree with previous literature showing that different algorithms or mechanisms determine grouping by similarity and grouping by distance. Additionally, these findings show that the single factor of grouping by distance also depends on multiple algorithms or mechanisms.     

Does colour preference have a role in colour term acquisition?

A developmental association exists between colour preference and emerging colour term acquisition in young children. Colour preference might influence colour term acquisition by directing attention towards or away from a particular colour, making it more or less memorable. To investigate the role that colour preference may have in the acquisition of colour terms, experimental tasks of colour preference, discrimination, attention, memory, and new colour term learning, were given to three groups of participants (preschool children; primary school children; and adults). Each task utilized the same colour stimuli, which were four computer‐simulated colours, matched perceptually to four different Munsell chips, drawn from the same colour category. Three colours varied systematically from an anchor colour (10PB 4/8) only in saturation (10PB 4/4), luminance (10PB 6/8), or hue (5P 4/8). Results showed that within‐category colour preferences emerged with age, and that when established within individuals, most preferred colours were named significantly more accurately than least preferred colours, although this association did not appear to be mediated directly by attention or memory. Rather, perceptual saliency was shown to have a mediating role, to some extent, in determining the relationship between colour preference and the cognitive processing of colour.     

Colour fluctuations in grapheme‐colour synaesthesia: The effect of clinical and non‐clinical mood changes

Synaesthesia is a condition that gives rise to unusual secondary sensations (e.g., colours are perceived when listening to music). These unusual sensations tend to be reported as being stable throughout adulthood (e.g., Simner & Logie, 2007, Neurocase, 13, 358) and the consistency of these experiences over time is taken as the behavioural hallmark of genuineness. Our study looked at the influence of mood states on synaesthetic colours. In Experiment 1, we recruited grapheme‐colour synaesthetes (who experience colours from letters/digits) and elicited their synaesthetic colours, as well as their mood and depression states, in two different testing sessions. In each session, participants completed the PANAS‐X (Watson & Clark, 1999) and the BDI‐II (Beck, Steer, & Brown, 1996, Manual for Beck Depression Inventory‐II), and chose their synaesthetic colours for letters A‐Z from an interactive colour palette. We found that negative mood significantly decreased the luminance of synaesthetic colours. In Experiment 2, we showed that synaesthetic colours were also less luminant for synaesthetes with anxiety disorder, versus those without. Additional evidence suggests that colour saturation, too, may inversely correlate with depressive symptoms. These results show that fluctuations in mood within both a normal and clinical range influence synaesthetic colours over time. This has implications for our understanding about the longitudinal stability of synaesthetic experiences, and of how mood may interact with the visual (imagery) systems.     

“Filling-in” colour in natural scenes

Our subjective experience of the world as being in full colour across the entire visual field is at odds with the highly fovea-biased distribution of cones in the retina. It is unclear how this percept of “pan-field colour” comes about. We use novel stimuli—“colour chimeras”—to demonstrate a related visual phenomenon in which observers perceive rich colour throughout images with large achromatic regions. This percept appears to critically depend on natural scene statistics. By separately manipulating chromatic and structural content in such images, we demonstrate that both the spatial distribution of colour and the presence of recognizable scene structure contribute to the experience of pan-field colour in these stimuli. Our results suggest that this percept is unlikely to be due to a low-level colour spreading process. Instead, we suggest that mechanisms dependent on natural scenes’ chromatic and luminance statistics provide the basis for the phenomenon.     

The effects of colour and valence on news evaluation

Research across different fields of psychology has reported effects of colour cues on a variety of cognitive processes. Especially, the colour red has been shown to have striking influences. In the context of media reception, however, colour effects have been widely neglected so far. This study made a first step in this direction by investigating the effects of the colour red (compared with blue and grey) on the way news articles are evaluated. Two types of news were framed by a coloured border while the valence of the news content additionally varied. Based on 369 participants who read and evaluated the news articles online, we observed effects for colour cues and news valence in the absence of an interaction effect, indicating that the colour red induced approach motivation. However, only the contrast between red and grey reached statistical significance, indicating that chromatic and achromatic colours may differ in their perceived visual saliency. Overall, these results provide an important complement to previous studies and have practical implications for media researchers and producers.     

Visualising fragrances through colours: the mediating role of emotions

To facilitate communication about fragrances, one can use the colours people tend to associate with their smells. We investigated to what extent odour-colour correspondences for fine fragrances can be accounted for by underlying emotional associations. Odour-colour matches and degree-of-fit judgments revealed that odours were matched to colours non-randomly. Matching colours differed mainly on blackness (brightness), and less on chromaticness (saturation) and hue. Furthermore, we found a consistent negative relationship between odour-colour degree-of-fit ratings and the difference between the odour scores and the colour scores on one of the emotion dimensions (pleasure). This suggests that emotional associations may partly underlie odour-colour correspondences.