Time-of-day perception in paintings.

The spectral shape, irradiance, direction, and diffuseness of daylight vary regularly throughout the day. The variations in illumination and their effect on the light reflected from objects may in turn provide visual information as to the time of day. We suggest that artists' color choices for paintings of outdoor scenes might convey this information and that therefore the time of day might be decoded from the colors of paintings. Here we investigate whether human viewers' estimates of the depicted time of day in paintings correlate with their image statistics, specifically chromaticity and luminance variations. We tested time-of-day perception in 17th- to 20th-century Western European paintings via two online rating experiments. In Experiment 1, viewers' ratings from seven time choices varied significantly and largely consistently across paintings but with some ambiguity between morning and evening depictions. Analysis of the relationship between image statistics and ratings revealed correlations with the perceived time of day: higher "morningness" ratings associated with higher brightness, contrast, and saturation and darker yellow/brighter blue hues; "eveningness" with lower brightness, contrast, and saturation and darker blue/brighter yellow hues. Multiple linear regressions of extracted principal components yielded a predictive model that explained 76% of the variance in time-of-day perception. In Experiment 2, viewers rated paintings as morning or evening only; rating distributions differed significantly across paintings, and image statistics predicted people's perceptions. These results suggest that artists used different color palettes and patterns to depict different times of day, and the human visual system holds consistent assumptions about the variation of natural light depicted in paintings.

Materials In Paintings (MIP): An interdisciplinary dataset for perception, art history, and computer vision.

In this paper, we capture and explore the painterly depictions of materials to enable the study of depiction and perception of materials through the artists' eye. We annotated a dataset of 19k paintings with 200k+ bounding boxes from which polygon segments were automatically extracted. Each bounding box was assigned a coarse material label (e.g., fabric) and half was also assigned a fine-grained label (e.g., velvety, silky). The dataset in its entirety is available for browsing and downloading at materialsinpaintings.tudelft.nl. We demonstrate the cross-disciplinary utility of our dataset by presenting novel findings across human perception, art history and, computer vision. Our experiments include a demonstration of how painters create convincing depictions using a stylized approach. We further provide an analysis of the spatial and probabilistic distributions of materials depicted in paintings, in which we for example show that strong patterns exists for material presence and location. Furthermore, we demonstrate how paintings could be used to build more robust computer vision classifiers by learning a more perceptually relevant feature representation. Additionally, we demonstrate that training classifiers on paintings could be used to uncover hidden perceptual cues by visualizing the features used by the classifiers. We conclude that our dataset of painterly material depictions is a rich source for gaining insights into the depiction and perception of materials across multiple disciplines and hope that the release of this dataset will drive multidisciplinary research.

Soft like velvet and shiny like satin: Perceptual material signatures of fabrics depicted in 17th century paintings.

Dutch 17th century painters were masters in depicting materials and their properties in a convincing way. Here, we studied the perception of the material signatures and key image features of different depicted fabrics, like satin and velvet. We also tested whether the perception of fabrics depicted in paintings related to local or global cues, by cropping the stimuli. In Experiment 1, roughness, warmth, softness, heaviness, hairiness, and shininess were rated for the stimuli shown either full figure or cropped. In the full figure, all attributes except shininess were rated higher for velvet, whereas shininess was rated higher for satin. This distinction was less clear in the cropped condition, and some properties were perceived significantly different between the two conditions. In Experiment 2 we tested whether this difference was due to the choice of the cropped area. On the basis of the results of Experiment 1, shininess and softness were rated for multiple crops from each fabric. Most crops from the same fabric differed significantly in shininess, but not in softness perception. Perceived shininess correlated positively with the mean luminance of the crops and the highlights' coverage. Experiment 1 showed that painted velvet and satin triggered distinct perceptions, indicative of robust material signatures of the two fabrics. The results of Experiment 2 suggest that the presence of local image cues affects the perception of optical properties like shininess, but not mechanical properties such as softness.

If painters give you lemons, squeeze the knowledge out of them. A study on the visual perception of the translucent and juicy appearance of citrus fruits in paintings.

Citrus fruits are characterized by a juicy and translucent interior, important properties that drive material recognition and food acceptance. Yet, a thorough understanding of their visual perception is still missing. Using citrus fruits depicted in 17th-century paintings as stimuli, we ran three rating experiments. In Experiment 1, participants rated the perceived similarity in translucency or juiciness of the fruits. In Experiment 2, different groups of participants rated one image feature from a list obtained in a preliminary experiment. In Experiment 3, translucency and juiciness were rated. We constructed two-dimensional perceptual spaces for both material properties and fitted the ratings of the image features into the spaces to interpret them. "Highlights," "peeled side," "bumpiness," and "color saturation" fit the juiciness space best and were high for the highly juicy stimuli. "Peeled side," "intensity of light gradient," "highlights," and "color saturation" were the most salient features of the translucency space, being high for the highly translucent stimuli. The same image features were also indicated in a 17th-century painting manual for material depiction (Beurs, 1692; Beurs, in press). Altogether, we disclosed the expertise of painters with regard to material perception by identifying the image features that trigger a visual impression of juiciness and translucency in citrus fruits.

Painterly depiction of material properties.

Painters are masters of depiction and have learned to evoke a clear perception of materials and material attributes in a natural, three-dimensional setting, with complex lighting conditions. Furthermore, painters are not constrained by reality, meaning that they could paint materials without exactly following the laws of nature, while still evoking the perception of materials. Paintings have to our knowledge not been studied on a big scale from a material perception perspective. In this article, we studied the perception of painted materials and their attributes by using human annotations to find instances of 15 materials, such as wood, stone, fabric, etc. Participants made perceptual judgments about 30 unique segments of these materials for 10 material attributes, such as glossiness, roughness, hardness, etc. We found that participants were able to perform this task well while being highly consistent. Participants, however, did not consistently agree with each other, and the measure of consistency depended on the material attribute being perceived. Additionally, we found that material perception appears to function independently of the medium of depiction-the results of our principal component analysis agreed well with findings in former studies for photographs and computer renderings.

Light: Toward a Transdisciplinary Science of Appearance and Atmosphere.

To understand the processes behind seeing light, we need to integrate knowledge about the incoming optical structure, its perception, and how light interacts with material, shape, and space-objectively and subjectively. To that end, we need a novel approach to the science of light, namely, a transdisciplinary science of appearance, integrating optical, perceptual, and design knowledge and methods. In this article, I review existing literature as a basis for such a synthesis, which should discuss light in its full complexity, including its spatial properties and interactions with materials, shape, and space. I propose to investigate this by representing the endless variety of light, materials, shapes, and space as canonical modes and their combinations.

Understanding gloss perception through the lens of art: Combining perception, image analysis, and painting recipes of 17th century painted grapes.

To understand the key image features that we use to infer the glossiness of materials, we analyzed the pictorial shortcuts used by 17th century painters to imitate the optical phenomenon of specular reflections when depicting grapes. Gloss perception of painted grapes was determined via a rating experiment. We computed the contrast, blurriness, and coverage of the grapes' highlights in the paintings' images, inspired by Marlow and Anderson (2013). The highlights were manually segmented from the images, and next the features contrast, coverage, and blurriness were semiautomatically quantified using self-defined algorithms. Multiple linear regressions of contrast and blurriness resulted in a predictive model that could explain 69% of the variance in gloss perception. No effect was found for coverage. These findings are in agreement with the instructions to render glossiness of grapes contained in a 17th century painting manual (Beurs, 1692/in press), suggesting that painting practice embeds knowledge about key image features that trigger specific material percepts.

Asymmetric perceptual confounds between canonical lightings and materials.

To better understand the interactions between material perception and light perception, we further developed our material probe MatMix 1.0 into MixIM 1.0, which allows optical mixing of canonical lighting modes. We selected three canonical lighting modes (ambient, focus, and brilliance) and created scenes to represent the three illuminations. Together with four canonical material modes (matte, velvety, specular, glittery), this resulted in 12 basis images (the "bird set"). These images were optically mixed in our probing method. Three experiments were conducted with different groups of observers. In Experiment 1, observers were instructed to manipulate MixIM 1.0 and match optically mixed lighting modes while discounting the materials. In Experiment 2, observers were shown a pair of stimuli and instructed to simultaneously judge whether the materials and lightings were the same or different in a four-category discrimination task. In Experiment 3, observers performed both the matching and discrimination tasks in which only the ambient and focus light were implemented. Overall, the matching and discrimination results were comparable as (a) robust asymmetric perceptual confounds were found and confirmed in both types of tasks, (b) performances were consistent and all above chance levels, and (c) observers had higher sensitivities to our canonical materials than to our canonical lightings. The latter result may be explained in terms of a generic insensitivity for naturally occurring variations in light conditions. Our findings suggest that midlevel image features are more robust across different materials than across different lightings and, thus, more diagnostic for materials than for lightings, causing the asymmetric perceptual confounds.

Visual Light Zones.

In this article, we studied perception of a particular case of light fields that is characterized by a difference in its consistent structure between parts of a scene. In architectural lighting design, such a consistent structure in a part of a light field is called a light zone. First, we explored whether human observers are sensitive to light zones, that is, zones determined primarily by light flow differences, for a natural-looking scene. We found that observers were able to distinguish the light conditions between the zones. The results suggested an effect of light zones' orientation. Therefore, in Experiment 2, we systematically examined how the orientation of light zones (left-right or front-back) with respect to a viewer influences light inferences in symmetric scenes. We found that observers are quite sensitive to the difference in the light flow of the light zones. In addition, we found that participants showed idiosyncratic behavior, especially for front-back-oriented light zones. Our findings show that observers are sensitive to differences in light field structure between two parts of a scene, which we call visual light zones.

Perception of object illumination depends on highlights and shadows, not shading.

Human observers are able to successfully infer direction and intensity of light from photographed scenes despite complex interactions between light, shape, and material. We investigate how well they are able to distinguish other low-level aspects of illumination, such as the diffuseness and the number of light sources. We use photographs of a teapot, an orange, and a tennis ball from the ALOI database (Geusebroek, Burghouts, & Smeulders, 2005) to create different illumination conditions, varying either in diffuseness of a single light source or in separation angle between two distinct light sources. Our observers were presented with all three objects; they indicated which object was illuminated differently from the other two. We record discrimination performance, reaction times, and eye fixations. We compare the data to a model that uses differences in image structure in same-object comparisons, and outcomes suggest that participants mostly rely on the information contained in cast shadows and highlights. The pattern of eye fixations confirms this, showing that after the first fixation, observers mostly fixate cast shadow areas. However, information in the highlights is rather salient, so it might be available from first fixation, making separate fixations are unnecessary.

Estimating the Illumination Direction From Three-Dimensional Texture of Brownian Surfaces.

We studied whether human observers can estimate the illumination direction from 3D textures of random Brownian surfaces, containing undulations over a range of scales. The locally Lambertian surfaces were illuminated with a collimated beam from random directions. The surfaces had a uniform albedo and thus texture appeared only through shading and shadowing. The data confirm earlier results with Gaussian surfaces, containing undulations of a single scale. Observers were able to accurately estimate the source azimuth. If shading dominated the images, the observers committed 180° errors. If cast shadows were present, they resolved this convex-concave-ambiguity almost completely. Thus, observers relied on second-order statistics in the shading regime and used an unidentified first-order cue in the shadow regime. The source elevations could also be estimated, which can be explained by the observers' exploitation of the statistical homogeneity of the stimulus set. The fraction of the surface that is in shadow and the median intensity are likely cues for these elevation estimates.

Contextual effects on real bicolored glossy surfaces.

The material property of glossiness, which is attributed to many objects in our daily life, is physically independent of the objects' color. However, perceived glossiness can change with the contrast between the highlight and the area around the specular highlight. Hitherto, experiments mainly investigated gloss on unicolored surfaces. It is well known that the context in which a surface is embedded can influence its perceived lightness. Here we investigated whether similar contextual effects exist also for gloss perception by presenting single surfaces containing two different colors. We tested the influence of the second color on participants' gloss judgments with both real surfaces and photographs of those surfaces. In both conditions, participants were influenced by the second color on the surface even though they were asked to ignore it. We found contrasting contextual effects on the bicolored surfaces. However, when explicitly asked to rate the global gloss on the bicolored surfaces, participants took both parts of the surface equally into account.

Separate and Simultaneous Adjustment of Light Qualities in a Real Scene.

Humans are able to estimate light field properties in a scene in that they have expectations of the objects' appearance inside it. Previously, we probed such expectations in a real scene by asking whether a "probe object" fitted a real scene with regard to its lighting. But how well are observers able to interactively adjust the light properties on a "probe object" to its surrounding real scene? Image ambiguities can result in perceptual interactions between light properties. Such interactions formed a major problem for the "readability" of the illumination direction and diffuseness on a matte smooth spherical probe. We found that light direction and diffuseness judgments using a rough sphere as probe were slightly more accurate than when using a smooth sphere, due to the three-dimensional (3D) texture. We here extended the previous work by testing independent and simultaneous (i.e., the light field properties separated one by one or blended together) adjustments of light intensity, direction, and diffuseness using a rough probe. Independently inferred light intensities were close to the veridical values, and the simultaneously inferred light intensity interacted somewhat with the light direction and diffuseness. The independently inferred light directions showed no statistical difference with the simultaneously inferred directions. The light diffuseness inferences correlated with but contracted around medium veridical values. In summary, observers were able to adjust the basic light properties through both independent and simultaneous adjustments. The light intensity, direction, and diffuseness are well "readable" from our rough probe. Our method allows "tuning the light" (adjustment of its spatial distribution) in interfaces for lighting design or perception research.

The global structure of the visual light field and its relation to the physical light field.

Human observers have been demonstrated to be sensitive to the local (physical) light field, or more precisely, to the primary direction, intensity, and diffuseness of the light at a point in a space. In the present study we focused on the question of whether it is possible to reconstruct the global visual light field, based on observers' inferences of the local light properties. Observers adjusted the illumination on a probe in order to visually fit it in three diversely lit scenes. For each scene they made 36 settings on a regular grid. The global structure of the first order properties of the light field could then indeed be reconstructed by interpolation of light vectors coefficients representing the local settings. We demonstrate that the resulting visual light fields (individual and averaged) can be visualized and we show how they can be compared to physical measurements in the same scenes. Our findings suggest that human observers have a robust impression of the light field that is simplified with respect to the physical light field. In particular, the subtle spatial variations of the physical light fields are largely neglected and the visual light fields were more similar to simple diverging fields than to the actual physical light fields.

Effects of scene content and layout on the perceived light direction in 3D spaces.

The lighting and furnishing of an interior space (i.e., the reflectance of its materials, the geometries of the furnishings, and their arrangement) determine the appearance of this space. Conversely, human observers infer lighting properties from the space's appearance. We conducted two psychophysical experiments to investigate how the perception of the light direction is influenced by a scene's objects and their layout using real scenes. In the first experiment, we confirmed that the shape of the objects in the scene and the scene layout influence the perceived light direction. In the second experiment, we systematically investigated how specific shape properties influenced the estimation of the light direction. The results showed that increasing the number of visible faces of an object, ultimately using globally spherical shapes in the scene, supported the veridicality of the estimated light direction. Furthermore, symmetric arrangements in the scene improved the estimation of the tilt direction. Thus, human perception of light should integrally consider materials, scene content, and layout.

Highlight shapes and perception of gloss for real and photographed objects.

Gloss perception strongly depends on the three-dimensional shape and the illumination of the object under consideration. In this study we investigated the influence of the spatial structure of the illumination on gloss perception. A diffuse light box in combination with differently shaped masks was used to produce a set of six simple and complex highlight shapes. The geometry of the simple highlight shapes was inspired by conventional artistic practice (e.g., ring flash for photography, window shape for painting and disk or square for cartoons). In the box we placed spherical stimuli that were painted in six degrees of glossiness. This resulted in a stimulus set of six highlight shapes and six gloss levels, a total of 36 stimuli. We performed three experiments of which two took place using digital photographs on a computer monitor and one with the real spheres in the light box. The observers had to perform a comparison task in which they chose which of two stimuli was glossiest and a rating task in which they rated the glossiness. The results show that, perhaps surprisingly, more complex highlight shapes were perceived to produce a less glossy appearance than simple highlight shapes such as a disk or square. These findings were confirmed for both viewing conditions, on a computer display and in a real setting. The results show that variations in the spatial structure of "rather simple" illumination of the "extended source" type highlight influences perceived glossiness.

The visual light field in real scenes.

Human observers' ability to infer the light field in empty space is known as the "visual light field." While most relevant studies were performed using images on computer screens, we investigate the visual light field in a real scene by using a novel experimental setup. A "probe" and a scene were mixed optically using a semitransparent mirror. Twenty participants were asked to judge whether the probe fitted the scene with regard to the illumination intensity, direction, and diffuseness. Both smooth and rough probes were used to test whether observers use the additional cues for the illumination direction and diffuseness provided by the 3D texture over the rough probe. The results confirmed that observers are sensitive to the intensity, direction, and diffuseness of the illumination also in real scenes. For some lighting combinations on scene and probe, the awareness of a mismatch between the probe and scene was found to depend on which lighting condition was on the scene and which on the probe, which we called the "swap effect." For these cases, the observers judged the fit to be better if the average luminance of the visible parts of the probe was closer to the average luminance of the visible parts of the scene objects. The use of a rough instead of smooth probe was found to significantly improve observers' abilities to detect mismatches in lighting diffuseness and directions.

Perception of length to width relations of city squares.

In this paper, we focus on how people perceive the aspect ratio of city squares. Earlier research has focused on distance perception but not so much on the perceived aspect ratio of the surrounding space. Furthermore, those studies have focused on "open" spaces rather than urban areas enclosed by walls, houses and filled with people, cars, etc. In two experiments, we therefore measured, using a direct and an indirect method, the perceived aspect ratio of five city squares in the historic city center of Delft, the Netherlands. We also evaluated whether the perceived aspect ratio of city squares was affected by the position of the observer on the square. In the first experiment, participants were asked to set the aspect ratio of a small rectangle such that it matched the perceived aspect ratio of the city square. In the second experiment, participants were asked to estimate the length and width of the city square separately. In the first experiment, we found that the perceived aspect ratio was in general lower than the physical aspect ratio. However, in the second experiment, we found that the calculated ratios were close to veridical except for the most elongated city square. We conclude therefore that the outcome depends on how the measurements are performed. Furthermore, although indirect measurements are nearly veridical, the perceived aspect ratio is an underestimation of the physical aspect ratio when measured in a direct way. Moreover, the perceived aspect ratio also depends on the location of the observer. These results may be beneficial to the design of large open urban environments, and in particular to rectangular city squares.

Relative flattening between velvet and matte 3D shapes: evidence for similar shape-from-shading computations.

Among other cues, the visual system uses shading to infer the 3D shape of objects. The shading pattern depends on the illumination and reflectance properties (BRDF). In this study, we compared 3D shape perception between identical shapes with different BRDFs. The stimuli were photographed 3D printed random smooth shapes that were either painted matte gray or had a gray velvet layer. We used the gauge figure task (J. J. Koenderink, A. J. van Doorn, & A. M. L. Kappers, 1992) to quantify 3D shape perception. We found that the shape of velvet objects was systematically perceived to be flatter than the matte objects. Furthermore, observers' judgments were more similar for matte shapes than for velvet shapes. Lastly, we compared subjective with veridical reliefs and found large systematic differences: Both matte and velvet shapes were perceived more flat than the actual shape. The isophote pattern of a flattened Lambertian shape resembles the isophote pattern of an unflattened velvet shape. We argue that the visual system uses a similar shape-from-shading computation for matte and velvet objects that partly discounts material properties.

Depth in box spaces.

Human observers adjust the frontal view of a wireframe box on a computer screen so as to look equally deep and wide, so that in the intended setting the box looks like a cube. Perspective cues are limited to the size-distance effect, since all angles are fixed. Both the size on the screen, and the viewing distance from the observer to the screen were varied. All observers prefer a template view of a cube over a veridical rendering, independent of picture size and viewing distance. If the rendering shows greater or lesser foreshortening than the template, the box appears like a long corridor or a shallow slab, that is, like a 'deformed' cube. Thus observers ignore 'veridicality'. This does not fit an 'inverse optics' model. We discuss a model of 'vision as optical user interface'.