Cultural Preferences to Color Quality of Illumination of Different Artwork Objects Revealed by a Color Rendition Engine

Liu, Anqing; Tuzikas, Arūnas; Žukauskas, A.; Vaicekauskas, Rimantas; Vitta, Pranciskas; Shur, M. S.

doi:10.1109/jphot.2013.2276742

Cited by 33 publications

(6 citation statements)

References 26 publications

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“…One explanation might again follow arguments such as a color constancy hypothesis (Foster, 2011; Liu et al, 2013; Nascimento and Masuda, 2014; Berns, 2016; Pridmore, 2017). It may be that viewers, especially with the representational paintings in Study 1, know how a person ‘should’ look or what colors they ‘should be,’ and thus are not that impacted by actual lighting-related changes.…”

Section: Discussionmentioning

confidence: 99%

“…Across the above studies there is a quite high variability and inconsistency with even basic aspects such as color temperature (CCT) and illumination. Beginning with CCT, a summary of the reviewed studies shows not only do they not often coincide with the beginning rule of thumb of the typical Kruithof/museum 3000 K range, these have been all over the map, often depending on the individual study: e.g., from 2850 or 2900 (Liu et al, 2013; Zhai et al, 2015) to 5500–5950 (Liu et al, 2013; Nascimento and Masuda, 2014), and notably with several studies reporting both lower and higher CCT preferences in the same analyses depending on different viewers or set-ups. At the same time, more advanced statistical models (Yoshizawa et al, 2013) suggest that CCT especially may have an important impact on subjective assessment of art.…”

Section: Review: Lighting Of Art Key Factors and Past Researchmentioning

confidence: 99%

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Does Gallery Lighting Really Have an Impact on Appreciation of Art? An Ecologically Valid Study of Lighting Changes and the Assessment and Emotional Experience With Representational and Abstract Paintings

et al. 2019

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We report two studies considering the potential for gallery lighting conditions to modulate appraisals and emotional experience with works of visual art. As recently documented in a number of papers, art appreciation represents a complex blend of formal artwork factors, personalities and backgrounds of viewers, and multiple aspects of context regarding where and how art is experienced. Among the latter, lighting would be expected to play a fundamental role. However, surprisingly, this has received little empirical assessment, with almost no ecologically valid gallery analyses and no between-participant designs which would minimize awareness of lighting changes themselves. Here, we employed a controlled paradigm using a spontaneous art viewing context, a gallery-like setting, and a proprietary lighting system which allowed the minute adjustment of lighting intensity/temperature (CCT). Participants viewed a selection of original representational and abstract art under three different CCT conditions (Study 1), modulated between participants, and then reported on their artwork appraisal and emotional experience. The selected lighting temperatures were chosen based on an initial investigation of existing art museums within the Vienna area, addressing how these institutions themselves light their art—a question which, also somewhat surprisingly, has not often been considered. We also allowed the same participants to set the light temperature themselves in order to test hypotheses regarding what might be an ‘ideal’ lighting condition for art. In Study 2, we explored the question of whether artworks made by an artist to match specific lighting conditions show a resulting connection to the ratings of viewers when shown in the same or different light. Results showed almost no effects from lighting changes in both studies. Viewers’ self-set light temperature (mean = 3777 K) did roughly coincide with the suggested most enjoyable conditions for everyday living and some past research on art viewing, but again showed wide interpersonal variance. Results, and a general review of lighting factors are considered in order to provide art researchers and curators with a tool for conducting future study.

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Section: Discussionmentioning

confidence: 99%

Section: Review: Lighting Of Art Key Factors and Past Researchmentioning

confidence: 99%

Does Gallery Lighting Really Have an Impact on Appreciation of Art? An Ecologically Valid Study of Lighting Changes and the Assessment and Emotional Experience With Representational and Abstract Paintings

et al. 2019

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“…appearance of the artwork appear more similar to that under a higher illuminance. Based on the findings in this study and the Hunt effect, it is likely that the preference for sources that can enhance the saturation of colors, in comparison to a reference illuminant, found in past studies could be due to the illuminance levels (Islam et al 2013;Jost-Boissard et al 2015;Judd 1967;Liu et al 2013;Ohno et al 2015;Sanders 1959;Szabo et al 2014;Teunissen et al 2016;Wei, Houser, Allen, and Beers 2014;Wei, Houser, David, and Krames 2014), because the illuminance levels between 200 and 500 lx employed in these studies were significantly lower than daylight illuminance, which can be as high as 1 × 10 5 lx (DiLaura et al 2011). The evaluations made by the observers in a recent study also suggested that the perceived saturation of 42 color samples under an exterior daylight condition (with a luminance of 13,050 cd/m 2 for a reference white) were generally higher than those under an indoor lighting condition (Ou 2016).…”

Section: Discussionmentioning

confidence: 62%

“…Most psychophysical experiments investigating color preference, including those described above, were conducted under a single illuminance level between 200 and 500 lx (Islam et al 2013;Jost-Boissard et al 2009Lin et al 2014Lin et al , 2015Liu et al 2013;Ohno et al 2015;Rea and Freyssinier 2010;Szabo et al 2014;Teunissen et al 2016;Veitch et al 2014;Houser 2016, 2017;Wei, Houser, Allen, and Beers 2014;Wei, Houser, David, and Krames 2014;. Such a range not only ensured that the illuminance was within the range of photopic vision but also covered most of the recommended illuminance levels for general illumination (DiLaura et al 2011).…”

Section: Introductionmentioning

confidence: 99%

Consideration of Light Level in Specifying Light Source Color Rendition

Mao

Bao

Huang

2018

LEUKOS

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In lighting practice, light level is seldom considered when specifying light source color rendition. Many past studies found that sources that can enhance color saturation within a certain range, especially for red colors, were preferred, but the experiments were typically carried out with an illuminance between 200 and 500 lx and the illuminance was seldom varied in individual studies. This article reports a psychophysical study that was designed to test whether illuminance affected color preference. Four nearly metameric stimuli with a correlated color temperature (CCT) around 3000 K and a D uv of −0.005 were produced to illuminate an oil painting at two illuminance levels (that is, 20 and 500 lx). These four stimuli were carefully designed to cover a range of relative gamut (that is, IES R g) from 100 to 125 and enhance the saturation of red and green colors (that is, R cs,h1 and R cs,h8). Observers compared pairs of light stimuli at a same illuminance level in a sequential mode and selected the one under which he or she preferred the color appearance of the painting. It was found that the R g of the most preferred stimulus decreased as the illuminance increased. The stimulus with an R g ≈ 117 was the most preferred at 20 lx, whereas the one with an R g ≈ 100 was the most preferred at 500 lx. The interaction between illuminance and saturation enhancement caused by the stimuli with larger gamut areas revealed the importance of considering illuminance when specifying light source color rendition, especially when an application requires a low light level and good color rendition.

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“…48,49 Cultural, personal, and geographical reasons can also impact the preferred lighting conditions. 50,51 Therefore, the quest for a universal most preferred CCT may be an elusive effort.…”

Section: Limitationsmentioning

confidence: 99%

Correlated color temperature: Use and limitations

Durmus

2021

Lighting Research & Technology

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Correlated color temperature (CCT) is a one-dimensional metric that aims to quantify the perceived visual quality of nominal white light sources. It is often used as a proxy for the color quality of light sources due to its ease of use. However, CCT lacks the accuracy in communicating color information for research purposes. Two light sources with identical CCTs can appear perceptually different, and these differences are not estimated by CCT due to the loss of information caused by reducing spectral power distribution of light sources into a one-dimensional metric. Using supplemental metrics in addition to CCT, providing the absolute spectral power distribution of light sources in graphical and tabular form, and documenting and accounting for potential confounding factors, such as chromatic adaptation, can increase the validity of research results, improve the repeatability of studies, and help address replication concerns.

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Cultural Preferences to Color Quality of Illumination of Different Artwork Objects Revealed by a Color Rendition Engine

Cited by 33 publications

References 26 publications

Does Gallery Lighting Really Have an Impact on Appreciation of Art? An Ecologically Valid Study of Lighting Changes and the Assessment and Emotional Experience With Representational and Abstract Paintings

Does Gallery Lighting Really Have an Impact on Appreciation of Art? An Ecologically Valid Study of Lighting Changes and the Assessment and Emotional Experience With Representational and Abstract Paintings

Consideration of Light Level in Specifying Light Source Color Rendition

Correlated color temperature: Use and limitations

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