Spatial profile of contours inducing long-range color assimilation

Watercolor spreading in Bridget Riley's and Piet Mondrian's op-art placed in the context of recent watercolor studies

The watercolor effect (WCE) is a striking visual illusion elicited by a bichromatic double contour, such as a light orange and a dark purple, hugging each other on a white background. Color assimilation, emanating from the lighter contour, spreads onto the enclosed surface area, thereby tinting it with a chromatic veil, not unlike a weak but real color. Map makers in the 17th century utilized the WCE to better demarcate the shape of adjoining states, while 20th-century artist Bridget Riley created illusory watercolor as part of her op-art. Today's visual scientists study the WCE for its filling-in properties and strong figure-ground segregation. This review emphasizes the superior strength of the WCE for grouping and figure-ground organization vis-à-vis the classical Gestalt factors of Max Wertheimer (1923), thereby inspiring a notion of form from induced color. It also demonstrates that a thin chromatic line, flanking the inside of a black Mondrian-type pattern, induces the WCE across a large white surface area. Phenomenological, psychophysical, and neurophysiological approaches are reviewed.

The contribution of luminance and chromatic channels to color assimilation

Color induction is the phenomenon where the physical and the perceived colors of an object differ owing to the color distribution and the spatial configuration of the surrounding objects. Previous works studying this phenomenon on the lsY MacLeod-Boynton color space, show that color assimilation is present only when the magnocellular pathway (i.e., the Y axis) is activated (i.e., when there are luminance differences). Concretely, the authors showed that the effect is mainly induced by the koniocellular pathway (s axis), but not by the parvocellular pathway (l axis), suggesting that when magnocellular pathway is activated it inhibits the koniocellular pathway. In the present work, we study whether parvo-, konio-, and magnocellular pathways may influence on each other through the color induction effect. Our results show that color assimilation does not depend on a chromatic-chromatic interaction, and that chromatic assimilation is driven by the interaction between luminance and chromatic channels (mainly the magno- and the koniocellular pathways). Our results also show that chromatic induction is greatly decreased when all three visual pathways are simultaneously activated, and that chromatic pathways could influence each other through the magnocellular (luminance) pathway. In addition, we observe that chromatic channels can influence the luminance channel, hence inducing a small brightness induction. All these results show that color induction is a highly complex process where interactions between the several visual pathways are yet unknown and should be studied in greater detail.

Large enhancement of simultaneous color contrast by white flanking contours

Simultaneous color contrast and assimilation are mutually opposing effects on color appearance, and their magnitude depends on spatial context. The Monnier-Shevell illusion induces a large color shift by a synergy of simultaneous assimilation and contrast using the alternating color of proximal and distant surrounds. The illusion induces a prominent effect along the blue-yellow color axis, but a subtle effect along the orthogonal color axis. In this study, we report an illusion generated by an extremely thin gray line on a cyan background that appears reddish when the line is flanked by thin white contours. We quantified the color appearance of the gray line in a color matching experiment and found that the color shift of the gray line with white contours induced large color shifts. It is also known that luminance contrast between a center and its surrounds affects the magnitude of simultaneous color contrast. However, our color contrast effects were larger for a dark line rather than for a pale line. In contrast, the perceived color shift of the line without the contours increased as the luminance of the gray line increased, supporting the known effect of Kirschmann's third law. These results indicate that Kirschmann's third law fails to explain the perceived color shift of our illusion, even after accounting for optical factors like aberrations. Observed color shifts could be explained by an augmented synergy theory based on intensity space, rather than chromaticity.

Color for the perceptual organization of the pictorial plane: Victor Vasarely's legacy to Gestalt psychology

Victor Vasarely's (1906-1997) important legacy to the study of human perception is brought to the forefront and discussed. A large part of his impressive work conveys the appearance of striking three-dimensional shapes and structures in a large-scale pictorial plane. Current perception science explains such effects by invoking brain mechanisms for the processing of monocular (2D) depth cues. Here in this study, we illustrate and explain local effects of 2D color and contrast cues on the perceptual organization in terms of figure-ground assignments, i.e. which local surfaces are likely to be seen as "nearer" or "bigger" in the image plane. Paired configurations are embedded in a larger, structurally ambivalent pictorial context inspired by some of Vasarely's creations. The figure-ground effects these configurations produce reveal a significant correlation between perceptual solutions for "nearer" and "bigger" when other geometric depth cues are missing. In consistency with previous findings on similar, albeit simpler visual displays, a specific color may compete with luminance contrast to resolve the planar ambiguity of a complex pattern context at a critical point in the hierarchical resolution of figure-ground uncertainty. The potential role of color temperature in this process is brought forward here. Vasarely intuitively understood and successfully exploited the subtle context effects accounted for in this paper, well before empirical investigation had set out to study and explain them in terms of information processing by the visual brain.

The effect of luminance differences on color assimilation

The color appearance of a surface depends on the color of its surroundings (inducers). When the perceived color shifts towards that of the surroundings, the effect is called "color assimilation" and when it shifts away from the surroundings it is called "color contrast." There is also evidence that the phenomenon depends on the spatial configuration of the inducer, e.g., uniform surrounds tend to induce color contrast and striped surrounds tend to induce color assimilation. However, previous work found that striped surrounds under certain conditions do not induce color assimilation but induce color contrast (or do not induce anything at all), suggesting that luminance differences and high spatial frequencies could be key factors in color assimilation. Here we present a new psychophysical study of color assimilation where we assessed the contribution of luminance differences (between the target and its surround) present in striped stimuli. Our results show that luminance differences are key factors in color assimilation for stimuli varying along the s axis of MacLeod-Boynton color space, but not for stimuli varying along the l axis. This asymmetry suggests that koniocellular neural mechanisms responsible for color assimilation only contribute when there is a luminance difference, supporting the idea that mutual-inhibition has a major role in color induction.

The Gold Standard Paradox in Digital Image Analysis: Manual Versus Automated Scoring as Ground Truth

CONTEXT

- Novel therapeutics often target complex cellular mechanisms. Increasingly, quantitative methods like digital tissue image analysis (tIA) are required to evaluate correspondingly complex biomarkers to elucidate subtle phenotypes that can inform treatment decisions with these targeted therapies. These tIA systems need a gold standard, or reference method, to establish analytical validity. Conventional, subjective histopathologic scores assigned by an experienced pathologist are the gold standard in anatomic pathology and are an attractive reference method. The pathologist's score can establish the ground truth to assess a tIA solution's analytical performance. The paradox of this validation strategy, however, is that tIA is often used to assist pathologists to score complex biomarkers because it is more objective and reproducible than manual evaluation alone by overcoming known biases in a human's visual evaluation of tissue, and because it can generate endpoints that cannot be generated by a human observer.

OBJECTIVE

- To discuss common visual and cognitive traps known in traditional pathology-based scoring paradigms that may impact characterization of tIA-assisted scoring accuracy, sensitivity, and specificity.

DATA SOURCES

- This manuscript reviews the current literature from the past decades available for traditional subjective pathology scoring paradigms and known cognitive and visual traps relevant to these scoring paradigms.

CONCLUSIONS

- Awareness of the gold standard paradox is necessary when using traditional pathologist scores to analytically validate a tIA tool because image analysis is used specifically to overcome known sources of bias in visual assessment of tissue sections.

Contribution of a luminance-dependent S-cone mechanism to non-assimilative color spreading in the watercolor configuration

In the watercolor configuration composed of wavy double contours, both assimilative and non-assimilative color spreading have been demonstrated depending on the luminance conditions of the inner and outer contours (IC and OC, respectively). This study investigated how the induced color in the watercolor configuration was modulated by combinations of the IC and the OC color, particularly addressing non-assimilative color spreading. In two experiments, the IC color was fixed to a certain color and combined with various colors selected from a hue circle centered at the background white color. Color spreading was quantified with a chromatic cancelation technique. Results showed that both the magnitude and the apparent hue of the color spreading were largely changed with the luminance condition. When the IC contrast (Weber contrast of the IC to the background luminance) was smaller in size than the OC contrast (higher IC luminance condition), the color spreading was assimilative. When the luminance condition was reversed and the IC contrast was greater than the OC contrast (lower IC luminance condition), the color spreading was non-assimilative and yellowish. When the color spreading was analyzed in terms of cone-opponent excitations, the results were consistent with the interpretation that the color spreading is explainable by a combination of chromatic diffusion from the IC and chromatically opponent induction from the OC. The color spreading in the higher IC luminance condition mainly reflected the chromatic diffusion by both (L–M) and S cone-opponent mechanisms. The non-assimilative color spreading in the lower IC luminance condition mostly reflected S-cone mediated opponent induction and the contribution of −S inducing mechanisms was differentially large. These findings provided several constraints on possible visual mechanisms underlying the watercolor effect.

Spatial selectivity of the watercolor effect

The spatial selectivity of the watercolor effect (WCE) was assessed by measuring its strength as a function of the luminance contrast of its inducing contours for different spatial configurations, using a maximum likelihood scaling procedure. The approach has previously been demonstrated to provide an efficient method for investigating the WCE as well as other perceptual dimensions. We show that the strength is narrowly tuned to the width of the contour, that it is optimal when its pair of inducing contours are of equal width, and that the strength can be increased by varying the overall size of the stimulus when the width of the inducing contour is not optimal. The results support a neural substrate that has characteristics not unlike double-opponent, color-luminance cells observed in cortical area V1.