Correlated color temperature preferred by observers for illumination of artistic paintings

Pinto, Paulo Daniel Araújo; Linhares, João M. M.; Nascimento, Sérgio M. C.

doi:10.1364/josaa.25.000623

Cited by 55 publications

(61 citation statements)

References 28 publications

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“…Relative numbers, however, are expected to be more robust and may provide more reliable information. Previous studies using this methodology have shown that only 30% of the theoretical maximum for the full object-color solid are actually occupied by colors found in nature [9], that in dichromatic vision the fraction of colors perceived in natural environments is about 7% of those perceived by normal color vision [10], and that the spectral structure of the illumination influences dramatically the number of colors perceived and hence color rendering [4,19,44]. These results represent fundamental information about the visual system and natural physical stimuli that would be difficult to derive in any other way.…”

Section: Discussionmentioning

confidence: 99%

Number of discernible colors for color-deficient observers estimated from the MacAdam limits

et al. 2010

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We estimated the number of colors perceived by color normal and color-deficient observers when looking at the theoretic limits of object-color stimuli. These limits, the optimal color stimuli, were computed for a color normal observer and CIE standard illuminant D65, and the resultant colors were expressed in the CIELAB and DIN99d color spaces. The corresponding color volumes for abnormal color vision were computed using models simulating for normal trichromatic observers the appearance for dichromats and anomalous trichomats. The number of colors perceived in each case was then computed from the color volumes enclosed by the optimal colors also known as MacAdam limits. It was estimated that dichromats perceive less than 1% of the colors perceived by normal trichromats and that anomalous trichromats perceive 50%-60% for anomalies in the medium-wavelength-sensitive and 60%-70% for anomalies in the long-wavelength-sensitive cones. Complementary estimates obtained similarly for the spectral locus of monochromatic stimuli suggest less impairment for color-deficient observers, a fact that is explained by the two-dimensional nature of the locus.

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Section: Discussionmentioning

confidence: 99%

Number of discernible colors for color-deficient observers estimated from the MacAdam limits

et al. 2010

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“…Detailed description of the system and acquisition methodology is given elsewhere (Pinto, Linhares & Nascimento, 2008). The spectral accuracy of the hyperspectral system in recovering spectral reflectance factors of colored samples is within 2% , Nascimento, Ferreira & Foster, 2002.…”

Section: Stimuli and Experimental Set-upmentioning

confidence: 99%

The colors of paintings and viewers’ preferences

et al. 2017

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Abstract. One hypothesis to explain the aesthetics of paintings is that it depends on the extent to which they mimic natural image statistics. In fact, paintings and natural scenes share several statistical image regularities but the colors of paintings seem generally more biased towards red than natural scenes. Is the particular option for colors in each painting, even if less naturalistic, critical for perceived beauty? Here we show that it is. In the experiments, 50 naïve observers, unfamiliar with the 10 paintings tested, could rotate the color gamut of the paintings and select the one producing the best subjective impression. The distributions of angles obtained are described by normal distributions with maxima deviating, on average, only 7 degrees from the original gamut orientation and full width at half maximum just above the threshold to perceive a chromatic change in the paintings. Crucially, for data pooled across observers and abstract paintings the maximum of the distribution was at zero degrees, i.e., the same as the original. This demonstrates that artists know what chromatic compositions match viewers' preferences and that the option for less naturalistic colors does not constraint the aesthetic value of paintings.3

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“…Lighting in florist shops can be varied to optimize esthetics for customers (Veitch, 2001;Viénot et al, 2009). Pinto et al (2008) determined that lighting that resulted in the best visual impression of art paintings was more white than the warmer lights normally used in museums. Massa et al (2008) also noted the importance of including white light when using LED lamps, although one of the advantages of using LEDs is the ability to select specific wavelengths for specific purposes and particular plants (Johkan et al, 2010;Matsuda et al, 2004).…”

Section: Discussionmentioning

confidence: 99%