The peculiar nature of simultaneous colour contrast in uniform surrounds

Ekroll, Vebjørn; Faul, Franz; Niederée, Reinhard

doi:10.1016/j.visres.2004.02.009

Cited by 63 publications

(76 citation statements)

References 55 publications

(88 reference statements)

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“…The first one is necessary because targets embedded in uniform surrounds have been noted to assume a dual colour impression reminiscent of perceptual transparency (Metelli, 1970), particularly when the contrast between target and surround is low Masin & Idone, 1981;Brown & MacLeod, 1997;Mausfeld, 1998;Ekroll et al, 2002Ekroll et al, , 2004. According to our experience, the target is then perceived as consisting of two layers, whereby one layer is perceived as coextensive with the target region and the other as extending across both the target and the surround.…”

Section: Introductionmentioning

confidence: 81%

“…Our arguments in favour of these claims are based on many seemingly disparate and unrelated lines of evidence and recent developments in our understanding of simultaneous colour contrast (Brown & MacLeod, 1997;Gordon & Shapley, 2006;Hansen, Walter, & Gegenfurtner, 2007;Ekroll, Faul, Niederée, & Richter, 2002;Ekroll, Faul, & Niederée, 2004;Ekroll & Faul, 2009;Ekroll, Faul, & Wendt, 2011;Faul, Ekroll, & Wendt, 2008). The main point we wish to make is that many different and seemingly unrelated empirical findings which have accumulated over the years and all appear surprising and challenging from the the traditional point of view can be reinterpreted as converging evidence for the simple principles laid out in the above hypotheses.…”

Section: Introductionmentioning

confidence: 96%

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New Laws of Simultaneous Contrast?

Ekroll

Faul

2012

Seeing and Perceiving

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Drawing on many seemingly disparate and unrelated lines of evidence, we argue that the direction of the simultaneous contrast effect in three-dimensional colour space is given by the difference vector between target and surround ('direction hypothesis'). This challenges the traditional idea according to which the direction of the simultaneous contrast is complementary to the colour of the surround ('complementarity law'). We also argue that the size of the simultaneous contrast effect is either constant or decreases with the difference between target and surround in three-dimensional colour space. The latter proposal challenges Kirschmann's fourth law. Within our theoretical framework, the universally presumed validity of the complementarity law and Kirschmann's fourth law can be understood as resulting from the failure to take various confounding factors into account when interpreting empirical data, the most prominent of which is the influence of temporal von Kries adaptation.

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Section: Introductionmentioning

confidence: 81%

Section: Introductionmentioning

confidence: 96%

New Laws of Simultaneous Contrast?

Ekroll

Faul

2012

Seeing and Perceiving

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“…In this case, the colour of the plate may have affected the perceived colour of the food by means of the well-known phenomenon of colour contrast. In the case of simultaneous colour contrast [29,30], an object seen in the foreground appears to have a different colour (or contrast) depending on the colour of the background [31,32]. This explanation had already been offered intuitively by Lyman: 'Simultaneous color contrast suggests that foods can be arranged in combinations so that their colors are subtly enhanced, subdued, or otherwise modified.…”

Section: On the Colour Of The Platementioning

confidence: 99%

Plating manifesto (II): the art and science of plating

Spence

Piqueras‐Fiszman

Michel

et al. 2014

Flavour

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It is well known that people serve themselves more, not to mention eat more, when dining from larger bowls and plates than from smaller ones. But what about the other visual qualities of the plateware? Does the colour, shape and finish also influence a diner's behaviour? How important are these extrinsic visual properties, or even the visual arrangement of the elements on the plate itself, in terms of modulating a diner's eating behaviours and experiences? At a time when so much is known about the influence of the colour of individual food products on taste and flavour perception, and when so many modernist restaurants are using an increasingly eclectic range of visual designs for their dishes, there has been surprisingly little scientific research on how the more complex visual properties and arrangement of food presentations may affect the diner. Below, we argue that the exploration of these effects constitutes the next natural step in an increasingly fruitful interdisciplinary collaboration between chefs, psychologists, sensory scientists and designers. The most important research questions, then, are to identify the kinds of effects that the presentation style has on the multisensory consumption experiences and behaviours of diners, and to study the interactions between the different visual cues that are provided. Taken together, the evidence reviewed here helps to emphasize the fact that getting both the plateware and the plating right constitute surprisingly important components to sublimate the flavours of the food, in the delivery and experience of a great meal.

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“…Piqueras-Fiszman and her colleagues suggested that the colour of the plate may have affected the perceived colour of the food by means of colour contrast illusions. In the phenomenon of simultaneous contrast [18], a foreground object appears to have a different colour (or contrast) depending on the background colour [19,20]. According to such perceptuallybased interpretations, the colour of Piqueras-Fiszman et al's food would have appeared more intense against the background of the white plate than when served from the black plate.…”

Section: Cutlerymentioning

confidence: 99%

Assessing the impact of the tableware and other contextual variables on multisensory flavour perception

Spence

Harrar

Piqueras‐Fiszman

2012

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Currently little is known about how the non-edible items associated with eating and drinking (tableware items such as the plates, bowls, cutlery, glasses, bottles, condiment containers, etc.), or even environmental factors (such as the lighting and/or background music), affect people's perception of foodstuffs. Here, we review the latest evidence demonstrating the importance of these contextual variables on the consumer's behavioural and hedonic response to, and sensory perception of, a variety of food and drink items. These effects are explained by a combination of psychological factors (high level attributes, such as perceived quality, that may be mediating the effects under consideration), perceptual factors (such as the Ebbinghaus-Titchener size-contrast illusion and colour contrast in the case of the colour of the plateware affecting taste/flavour perception), and physiological-chemical factors (such as differences in the release of volatile organic compounds from differently-shaped wine glasses). Together, these factors help to explain the growing body of evidence demonstrating that both the tableware and the environment can have a profound effect on our perception of food and drink.Keywords: Cutlery, Tableware, Contextual factors, Flavour, Liking, Multisensory, Weight, Colour, Size, Material ReviewResearch on the topic of flavour perception has grown rapidly over the last decade or so (see Figure 1). In particular, the relative contributions of the various sensory cues (i.e., olfactory, gustatory, somatosensory, auditory, visual, and trigeminal) to multisensory flavour perception have been examined for a wide variety of different food and beverage items (see [1,2] for reviews). While a number of recent studies have also highlighted the importance of atmospheric/environmental cues in determining what, how much, and how quickly, we eat and drink, and even how much we report liking the experience ([3,4]; for reviews, see [5,6]), far less research has studied the role of the tableware on eating, drinking, and flavour perception. Below, we review the latest evidence highlighting the significant effect that the non-edible components of eating and drinking (e.g., the cutlery, plateware, glassware, condiment containers, menus, and atmosphere) can have on people's perception of, and response to, foods and beverages. CutleryCutlery, by which we mean forks, knives, and spoons, has been in widespread use for nearly 200 years now (e.g., [7,8]). Traditionally, it was made from a wide variety of different materials, such as wood, bone, ceramic, iron, brass pewter, etc. Nowadays, though, the range of materials used for cutlery is much narrower, mainly limited to stainless steel, silver, plastic, or wood (for chopsticks and the cutlery often found in ecofriendly coffee shops). This streamlining of materials has probably resulted from a combination of factors including: the ease and cost of manufacture/production, the ease of cleaning, environmental impact, and any taste transferred from the cutlery to the food.Lau...

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The peculiar nature of simultaneous colour contrast in uniform surrounds

Cited by 63 publications

References 55 publications

New Laws of Simultaneous Contrast?

New Laws of Simultaneous Contrast?

Plating manifesto (II): the art and science of plating

Assessing the impact of the tableware and other contextual variables on multisensory flavour perception

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