A colored line flanking a darker border will appear to assimilate its color onto the enclosed white area over distances of up to 45 deg (the Watercolor Effect). This coloration is uniform and complete within 100 ms. We found that thin (6 arcmin), winding inducing lines with different contrasts to the ground are generally more effective than thick, straight, and equiluminant lines. Blue and red lines induce the strongest effects, but watercolor spreading may also be seen with green and yellow. On a white background, color spreading is stronger than on chromatic, gray or black backgrounds. Little or no color is perceived when a narrow white zone (gap) is inserted in between the two inducing lines. However, chains of colored dots instead of continuous lines suffice to produce spreading. Edge-induced color is also observed when the two colored lines are presented dichoptically, suggesting a cortical origin. The Watercolor Effect described here may serve to enhance figure-ground segregation by imparting surface color onto the enclosed area, and to promote grouping between distant stimulus elements. As a grouping factor, watercolor coloration wins over proximity. Assimilative color spreading may arise in two steps: First, weakening of the contour by lateral inhibition between differentially activated edge cells (local diffusion); and second, unbarriered flow of color onto the enclosed area (global diffusion).

Coloration and figural properties of neon color spreading and the watercolor illusion are studied using phenomenal and psychophysical observations. Coloration properties of both effects can be reduced to a common limiting condition, a nearby color transition called the "two-dots limiting case", that clarifies their perceptual similarities and dissimilarities. The results are explained by the FACADE neural model of biological vision. The model proposes how local properties of color transitions activate spatial competition among nearby perceptual boundaries, with boundaries of lower contrast edges weakened by competition more than boundaries of higher contrast edges. This asymmetry induces spreading of more color across these boundaries than conversely. The model also predicts how depth and figure-ground effects are generated in these illusions. 2The watercolor illusion and neon color spreading

We present a remarkably simple illusion that manifests whenever a certain class of flat static patterns are moved across our peripheral visual field. A relative motion is perceived in a direction perpendicular to the true motion. Translatory, looming, and rotational movements of the head or the pattern can all elicit it. Each pattern is constructed of simple elements that define, through luminance, an orientation polarity. This polarity could be encoded by spatiotemporally tuned, orientation sensitive units in area V1. We offer an explanation for the illusion based on how such units from V1 may be combined to feed the processes that subsequently interpret motion.

The watercolor effect is perceived when a dark (e.g., purple) contour is flanked by a lighter chromatic contour (e.g., orange). Under these conditions, the lighter color will assimilate over the entire enclosed area. This filling-in determines figure-ground organization when it is pitted against the classical Gestalt factors of proximity, good continuation, closure, symmetry, convexity, as well as amodal completion, and past experience. When it is combined with a given Gestalt factor, the resulting effect on figure-ground organization is stronger than for each factor alone. When the watercolor effect is induced by a dark red edge instead of an orange edge, its figural strength is reduced, but still stronger than without it. Finally, when a uniform surface is filled physically using the color of the orange fringe, figure-ground organization is not different from that for the purple contour only. These findings show that the watercolor effect induced by the edge could be an independent factor, different from the classical Gestalt factors of figure-ground organization.

We propose an explanatory approach to Café Wall type illusions that is simple yet fairly comprehensive. These illusions are constructed out of basic elementary units in a jigsaw-like manner. Each unit, in general, contains both a solid body and a thin tail: the contrast polarity between the two determines the direction of the contributory illusory tilt produced by that element-according to a heuristic rule illustrated in figure 1. Ensembles of these elements exhibit illusory tilts only when the tails of the elements align along a common line in an additive manner. When elements of opposing polarity alternate, the illusion is cancelled. This approach extends and supersedes those presented in Pinna's illusion of angularity and Kitaoka's 'acute' corner effect. Furthermore, it appears to be, in part, compatible with existing mechanisms proposed to account for the emergence of local tilt cues, and it suggests several novel variations on the Café Wall theme.

The watercolor illusion presents two main effects: a long-range assimilative color spreading (coloration effect), and properties imparting a strong figure status (figural effect) to a region delimited by a dark (e.g. purple) contour flanked by a lighter chromatic contour (e.g. orange). In four experiments, the strength of the watercolor illusion to determine figure-ground organization is directly compared (combined or pitted against) with the Gestalt principle of similarity both of color and line width. The results demonstrated that (i) the watercolor illusion and, particularly, its figural effect won over the classical Gestalt factors of similarity; (ii) the watercolor illusion cannot be due to the coloration effect as suggested by the similarity principle; (iii) coloration and figural effects may be independent in the watercolor illusion, and (iv) the watercolor illusion can be considered as a principle of figure-ground segregation on its own. Two parallel and independent processes as proposed within the FACADE model (Grossberg, 1994, 1997) are suggested to account for the two effects of coloration and figural enhancement in the watercolor illusion.

We report some novel 'lighting' and 'backlighting' effects in plane figures similar to those which induce the 'watercolor illusion', that is, figures made with outlines composed of juxtaposed parallel lines varying in brightness and chromatic color. These new effects show 'illumination' as an emergent percept, and show how arrangements of 'dark and light' along the boundaries of various plane figures model the volume and strengthen the illusion of depth. To account for these various effects we propose several phenomenological 'laws of figurality' to add to the Gestalt laws of organization and figure-ground segregation. We offer a set of meta-laws which are speculative but which serve to integrate and organize the phenomenological laws. These laws indicate how luminance gradient profiles across boundary contours define both the 3D appearance of figures and the properties of the light reflected from their volumetric shapes.

Amodal completion is the most common form of visual completion occurring when portions of an object are hidden, due to their occlusion behind another object (Michotte, 1951). Just as a shape is completed amodally behind another occluding shape, so is a color behind another occluding color or behind a lighting: a bright light reflected by a three-dimensional object. Four possible phenomenal combinations related to the amodal completion of color are shown: amodal or modal coloration or discoloration. Purposes of four experiments were: (1) to demonstrate the amodal completion of color under different stimulus conditions and under chromatic and achromatic conditions and (2) to extract the general principles ruling the amodal completion of color: "which, among many, is the color that completes amodally?" and, consequently, "which is the region of an object that determines its color?" The results showed the effectiveness of the amodal completion of color and that chromatic and achromatic conditions reveal different results. Four general principles of the amodal completion of color, useful to understand the more general problem of phenomenal organization of color, are suggested.