Colour expectations across illumination changes.

This study investigates human expectations towards naturalistic colour changes under varying illuminations. Understanding colour expectations is key to both scientific research on colour constancy and applications of colour and lighting in art and industry. We reanalysed data from asymmetric colour matches of a previous study and found that colour adjustments tended to align with illuminant-induced colour shifts predicted by naturalistic, rather than artificial, illuminants and reflectances. We conducted three experiments using hyperspectral images of naturalistic scenes to test if participants judged colour changes based on naturalistic illuminant and reflectance spectra as more plausible than artificial ones, which contradicted their expectations. When we consistently manipulated the illuminant (Experiment 1) and reflectance (Experiment 2) spectra across the whole scene, observers chose the naturalistic renderings significantly above the chance level (>25 %) but barely more often than any of the three artificial ones, collectively (>50 %). However, when we manipulated only one object/area's reflectance (Experiment 3), observers more reliably identified the version in which the object had a naturalistic reflectance like the rest of the scene. Results from Experiments 2-3 and additional analyses suggested that relational colour constancy strongly contributed to observer expectations, and stable cone-excitation ratios are not limited to naturalistic illuminants and reflectances but also occur for our artificial renderings. Our findings indicate that relational colour constancy and prior knowledge about surface colour shifts help to disambiguate surface colour identity under illumination changes, enabling human observers to recognise surface colours reliably in naturalistic conditions. Additionally, relational colour constancy may even be effective in many artificial conditions.

Sensory representation of surface reflectances: assessments with hyperspectral images.

Specifying surface reflectances in a simple and perceptually informative way would be beneficial for many areas of research and application. We assessed whether a 3×3 matrix may be used to approximate how a surface reflectance modulates the sensory color signal across illuminants. We tested whether observers could discriminate between the model's approximate and accurate spectral renderings of hyperspectral images under narrowband and naturalistic, broadband illuminants for eight hue directions. Discriminating the approximate from the spectral rendering was possible with narrowband, but almost never with broadband illuminants. These results suggest that our model specifies the sensory information of reflectances across naturalistic illuminants with high fidelity, and with lower computational cost than spectral rendering.

Feature-based interaction between masks and target in continuous flash suppression.

Continuous flash suppression (CFS) has become one of the most popular tools in the study of visual processing in the absence of conscious awareness. Studies use different kinds of masks, like colorful Mondrians or random noise. Even though the use of CFS is widespread, little is known about some of the underlying neuronal mechanisms, such as the interactions between masks and stimuli. We designed a b-CFS experiment with feature-reduced targets and masks in order to investigate possible effects of feature-similarity or -orthogonality between masks and targets. Masks were pink noise patterns filtered with an orientation band pass to generate a strong directionality. Target stimuli were Gabors varying systematically in their orientational alignment with the masks. We found that stimuli whose orientational alignment was more similar to that of the masks are suppressed significantly longer. This feature-similarity (here: orientation) based enhancement of suppression duration can be overcome by feature orthogonality in another feature dimension (here: color). We conclude that mask-target interactions exist in continuous flash suppression, and the human visual system can use orthogonality within a feature dimension or across feature dimensions to facilitate the breaking of the CFS.

Why bananas look yellow: The dominant hue of object colours.

In this study, we propose a new approach to the perceptual representation of object colours. Three-dimensional objects have a polychromatic colour distribution. Yet, human observers abstract from the variation along the three perceptual colour dimensions when describing objects, such as when we say, "a banana is yellow". We propose that the perceived object colour is determined by the dominant hue. The dominant hue corresponds to the first principal component of an object's chromaticities. Across three experiments, we show for a sample of objects that the chromatic variation away from the dominant hue is almost completely neglected by human observers under non-laboratory viewing conditions. This is partly due to the low visibility of this variation, and partly to attentional change blindness. These findings reveal the potential role of dominant hue in the perception of object colours. Dominant hue may enable us to determine the most representative colours of objects because perceived object colours tend to be maximally bright and saturated. The present findings also imply that we can simplify the colour distributions of objects by projecting them onto their dominant hue. This may be useful for computational applications.

Colour category constancy and the development of colour naming.

In this study, we investigated the processes of coordination, adaptation, and calibration during the development of colour naming and colour constancy, and we tested whether colour term knowledge is related to colour constancy. We measured category membership and prototypes with 163 Munsell chips in preschool children (3- to 4-year-old) under neutral, green, and red illuminations, and compared their results to those of adults. We introduced an index of colour term maturity based on the similarity of children's colour term use to adults, and a colour category constancy index that quantifies the variation in colour categorisation that is specific to illumination changes. Results showed that illumination changes affected children's consistency of colour categorisation, but only to a small extent. However, colour term maturity and illumination-specific effects on consistency strongly varied in this age range. Correlations between colour term maturity and illumination-specific consistency indicated that colour constancy increases with colour term acquisition; but those results depended on the type of illumination changes (between neutral, green, and red). Together, our findings suggest that children progressively fine-tune and recalibrate the meaning of colour terms through processes of coordination and adaptation that are also involved in the calibration of colour constancy.

Color Naming and Categorization Depend on Distinct Functional Brain Networks.

Naming a color can be understood as an act of categorization, that is, identifying it as a member of a category of colors that are referred to by the same name. But are naming and categorization equivalent cognitive processes and consequently rely on same neural substrates? Here, we used task and resting-state functional magnetic resonance imaging as well as behavioral measures to identify functional brain networks that modulated naming and categorization of colors. We first identified three bilateral color-sensitive regions in the ventro-occipital cortex. We then showed that, across participants, color naming and categorization response times (RTs) were correlated with different resting state connectivity networks seeded from the color-sensitive regions. Color naming RTs correlated with the connectivity between the left posterior color region, the left middle temporal gyrus, and the left angular gyrus. In contrast, color categorization RTs correlated with the connectivity between the bilateral posterior color regions, and left frontal, right temporal and bilateral parietal areas. The networks supporting naming and categorization had a minimal overlap, indicating that the 2 processes rely on different neural mechanisms.

How to make a #theDress.

If we completely understand how a phenomenon works, we should be able to produce it ourselves. However, the individual differences in color appearance observed with #theDress seem to be a peculiarity of that photo, and it remains unclear how the proposed mechanisms underlying #theDress can be generalized to other images. Here, we developed a simple algorithm that transforms any image with bicolored objects into an image with the properties of #theDress. We measured the colors perceived in such images and compared them to those perceived in #theDress. Color adjustments confirmed that observers strongly differ in how they perceive the colors of the new images in a similar way as for #theDress. Most importantly, these differences were not unsystematic, but correlated with how observers perceive #theDress. These results imply that the color distribution is sufficient to produce the striking individual differences in color perception originally observed with #theDress-at least as long as the image appears realistic and hence compels the viewer to make assumptions about illuminations and surfaces. The algorithm can be used for stimulus production beyond this study.

Blue hues don't bring the blues: questioning conventional notions of color-emotion associations.

It is commonly held that yellow is happy and blue is sad, but the reason remains unclear. Part of the problem is that researchers tend to focus on understanding why yellow is happy and blue is sad, but this may be a misleading characterization of color-emotion associations. In this study, we disentangle the contribution of lightness, chroma, and hue in color-happy/sad associations by controlling for lightness and chroma either statistically or colorimetrically. We found that after controlling for lightness and chroma, colors with blue hue were no sadder than colors with yellow hue, and in some cases, colors with blue hue were actually happier. These results can help guide future efforts to understand the nature of color-emotion associations.

Hues of Color Afterimages.

We studied the relationship between color afterimages and complementary colors. The hues of afterimages of 24 inducer hues, uniformly distributed over the rgb color circle, were measured by an iterative method of adjustment. The judgment of equality of hue of the afterimage and a synthesized patch was effectively judged at the moment immediately after the switch-off of the inducer, when the synthesized patch went through any number of iterative adjustments. The two patches-both phenomenally present, but only one optically presented-appeared to the left and right of a fixation mark that was fixated throughout the whole procedure. Thus, both patches were present in eccentric vision. The hues of afterimages were found to be quite different from the hue of the complementary of the inducer. Almost one half of the color circle (orange to chartreuse) leads to afterimage hues in a narrow region of purples. This implies that color circles based on diametrically opposed inducer-afterimage hues are necessarily inconsistent. Yet, perhaps surprisingly, the relation between primary and afterimage hues is still approximately an involution (they are reciprocally related).

When colours split from objects: The disconnection of colour perception from colour language and colour knowledge.

We investigated object-colour knowledge in RDS, a patient with impaired colour naming after a left occipito-temporal stroke. RDS's colour perception, object naming and verbal colour-knowledge (the ability to verbally say the typical colour of an object) were relatively spared. RDS was also able to state if an object was appropriately coloured or not. However, he could neither match colour names to coloured objects, nor match colour patches to grey-scale objects. Thus, RDS's colour-naming deficit was associated with an impaired ability to conceptually relate visually presented object shapes and colours. These results suggest that objects in their typical colour are processed holistically in the visual modality, and that abilities important for colour naming may also be involved in abstracting colours from visual objects. We discuss these findings in the context of developmental psychology and linguistic anthropology, and propose a model of neuro-functional organization of object-colour knowledge.

Red, yellow, green, and blue are not particularly colorful.

Colorfulness and saturation have been neglected in research on color appearance and color naming. Perceptual particularities, such as cross-cultural stability, "focality," "uniqueness," "salience," and "prominence" have been observed for red, yellow, green, and blue when those colors were more saturated than other colors in the stimulus samples. The present study tests whether high saturation is a characteristic property of red, yellow, green, and blue, which would explain the above observations. First, we carefully determined the category prototypes and unique hues for red, yellow, green, and blue. Using different approaches in two experiments, we assessed discriminable saturation as the number of just noticeable differences away from the adaptation point (i.e., neutral gray). Results show that some hues can reach much higher levels of maximal saturation than others. However, typical and unique red, yellow, green, and blue are not particularly colorful. Many other intermediate colors have a larger range of discriminable saturation than these colors. These findings suggest that prior claims of perceptual salience of category prototypes and unique hues actually reflect biases in stimulus sets rather than perceptual properties. Additional analyses show that consistent prototype choices across fundamentally different languages are strongly related to the variation of discriminable saturation in the stimulus sets. Our findings also undermine the idea that every color can be produced by a mixture of unique hues. Finally, the measurements in this study provide a large amount of data on saturation across hues, which allows for reevaluating existing estimates of saturation in future studies.

Variation of Saturation Across Hue Affects Unique and Typical Hue Choices.

Most studies on colour categorisation and many studies on unique hues have used samples of maximally saturated Munsell chips that vary in saturation across hue. Here we show that observers' choices of category prototypes and unique hues depend on the variation of Munsell chroma across hue. Both unique hue and prototype choices were shifted towards the more saturated hues in the respective stimulus set. This effect of saturation may explain cross-cultural regularities in colour categorisation. More generally, these findings highlight the importance of controlling saturation when measuring colour categories and unique hues.

Color Categorization Independent of Color Naming.

Color is continuous, yet we group colors into discrete categories associated with color names (e.g., yellow, blue). Color categorization is a case in point in the debate on how language shapes human cognition. Evidence suggests that color categorization depends on top-down input from the language system to the visual cortex. We directly tested this hypothesis by assessing color categorization in a stroke patient, RDS, with a rare, selective deficit in naming visually presented chromatic colors, and relatively preserved achromatic color naming. Multimodal MRI revealed a left occipito-temporal lesion that directly damaged left color-biased regions, and functionally disconnected their right-hemisphere homologs from the language system. The lesion had a greater effect on RDS's chromatic color naming than on color categorization, which was relatively preserved on a nonverbal task. Color categorization and naming can thus be independent in the human brain, challenging the mandatory involvement of language in adult human cognition.

The biological bases of colour categorisation: From goldfish to the human brain.

How are colour categories related to perception and language? To answer this question, we review research on the neural correlates of colour categories, and categorical responses in preverbal infants and non-human animals. With respect to language, the reviewed findings suggest that colour categorisation often involves automatic language processing. At the same time, evidence from non-human animals, infants, and patients with brain lesions indicates that colour categorisation may also occur in the absence of language. Concerning perception, there is little convincing evidence that the bottom-up processes of colour perception are the origin of colour categories. Instead, colour categorisation might simply build upon the continuous colour perception and interact with perception through the direction of attention to colour differences that are relevant to categorisation. We make three suggestions for future research. First, future research in all areas requires methodological improvements, in particular in stimulus control. Second, future research should overcome the universalist-realist debate and go beyond a simple contrast between perception and language. Third, the link between object colours and colour categories provides an alternative approach that might reveal the ecological origin of colour categories. The ecological approach promises establishing evolutionary and developmental continuity between categorical responses in non-human animals, infants and adult humans.

Similarities in Color Preferences Between Women and Men: The Case of Hadza, the Hunter-Gatherers From Tanzania.

Evidence for cross-cultural patterns of sexual differences in color preferences raised the question of whether these preferences are determined by universal principles. To address this question, we investigated most- and least-favorite color choices in a nonindustrialized community, the Hadza that has an egalitarian hunter-gatherer culture, fundamentally different from those previously investigated. We also compared color preference patterns in the Hadza with published data from Poland and Papua. Our results show that Hadza have very different color preferences than Polish and Papuan Yali respondents. Unlike many industrialized and nonindustrialized cultures, Hadza color preferences are practically the same for women and men. These observations question the idea of universal differences of color preferences between sexes and raise important questions about the determinants of color preferences.

The allocation of resources in visual working memory and multiple attentional templates.

In a visual search task, sensory input is matched to a representation of the search target in visual working memory (VWM). This representation is referred to as attentional template. We investigated the conditions that allow for more than a single attentional template. The attentional template of color targets was measured by means of the contingent attentional capture paradigm. We found that attentional templates did not differ between search with 1 and 2 memorized target colors, suggesting that dual target search allowed for multiple attentional templates. In the same paradigm, we asked participants to memorize target and distractor color with equal precision. Both were presented before the search task. An attentional template was set up for the target, but not for the distractor color, suggesting that keeping a color in VWM does not automatically result in the creation of multiple attentional templates. Importantly, the precision of recall of the distractor color was worse than the precision of recall of the target color, regardless of instructions, suggesting that participants always allocated fewer VWM resources to the distractor color. Thus, 2 attentional templates may be set up, but only when the 2 colors receive an equal amount of resources in VWM (i.e., in dual target search). In contrast, when 1 item is deprioritized because of task demands, it receives fewer resources in VWM and multiple attentional templates cannot be established. Thus, unequal roles in the search task prevented the simultaneous operation of multiple attentional templates in VWM. (PsycINFO Database Record (c) 2019 APA, all rights reserved).

Color Perception: Objects, Constancy, and Categories.

Color has been scientifically investigated by linking color appearance to colorimetric measurements of the light that enters the eye. However, the main purpose of color perception is not to determine the properties of incident light, but to aid the visual perception of objects and materials in our environment. We review the state of the art on object colors, color constancy, and color categories to gain insight into the functional aspects of color perception. The common ground between these areas of research is that color appearance is tightly linked to the identification of objects and materials and the communication across observers. In conclusion, we argue that research should focus on how color processing is adapted to the surface properties of objects in the natural environment in order to bridge the gap between the known early stages of color perception and the subjective appearance of color.

A Bayesian Model of the Memory Colour Effect.

According to the memory colour effect, the colour of a colour-diagnostic object is not perceived independently of the object itself. Instead, it has been shown through an achromatic adjustment method that colour-diagnostic objects still appear slightly in their typical colour, even when they are colourimetrically grey. Bayesian models provide a promising approach to capture the effect of prior knowledge on colour perception and to link these effects to more general effects of cue integration. Here, we model memory colour effects using prior knowledge about typical colours as priors for the grey adjustments in a Bayesian model. This simple model does not involve any fitting of free parameters. The Bayesian model roughly captured the magnitude of the measured memory colour effect for photographs of objects. To some extent, the model predicted observed differences in memory colour effects across objects. The model could not account for the differences in memory colour effects across different levels of realism in the object images. The Bayesian model provides a particularly simple account of memory colour effects, capturing some of the multiple sources of variation of these effects.

Are red, yellow, green, and blue perceptual categories?

This study investigated categorical perception for unique hues in order to establish a relationship between color appearance, color discrimination, and low-level (second-stage) mechanisms. We tested whether pure red, yellow, green, and blue, (unique hues) coincide with troughs, and their transitions (binary hues) with peaks of sensitivity in DKL-space. Results partially confirmed this idea: JNDs demarcated perceptual categories at the binary hues around green, blue and less clearly around yellow, when colors were isoluminant with the background and when accounting for the overall variation of sensitivity by fitting an ellipse. The categorical JND pattern for those three categories was in line with the effect of the second-stage mechanisms. In contrast, the results for unique red, binary red-yellow, and the JNDs for dark colors clearly contradicted categorical perception. There was a JND maximum around the center of red and JNDs strongly decreased away from the center. Although this observation alone would also be in line with categorical perception; unique red was shifted away from the center towards yellow so that unique red was close to the minimum instead of the maximum JND, hence contradicting categorical perception. In addition, we also showed that observers do not adjust unique hues more consistently than binary hues, confirming a previous study. Taken together, our findings suggest that some of the unique hues could be inherent in the early stages of color processing. At the same time, they also raise questions about complex effects of lightness, chroma and instructions on the measurements of JNDs and unique hues.

The dress and individual differences in the perception of surface properties.

This study investigates systematic individual differences in the way observers perceive different kinds of surface properties and their relationship to the dress, which shows striking individual differences in colour perception. We tested whether these individual differences have a common source, namely differences in perceptual strategies according to which observers attribute features in two-dimensional images to surfaces or to their illumination. First, we reanalysed data from two previous experiments on the dress and colour constancy. The comparison of the two experiments revealed that the colour perception of the dress is strongly related to individual differences in colour constancy. Second, two online surveys measured individual differences in the perception of colour-ambiguous images including the dress, in colour constancy, in gloss perception, in the subjective grey-point, in colour naming, and in the perception of an image with ambiguous shading. The results of the surveys replicated and extended previous findings according to which individual differences in the colour perception of the dress are due to implicit assumptions about the illumination. However, results also showed that the individual differences for other phenomena were independent of the dress and of each other. Overall, these results suggest that the striking individual differences in dress colour perception are due to individual differences in the interpretation of illumination cues to achieve colour constancy. At the same time, they undermine the idea of an overall perceptual strategy that encompasses other phenomena more generally related to the interpretation of illumination and surface properties.