The spatial luminance relationship between shading patterns and specular highlight is suggested to be a cue for perceptual translucency (Motoyoshi, 2010). Although local image features are also important for translucency perception (Fleming & Bulthoff, 2005), they have rarely been investigated. Here, we aimed to extract spatial regions related to translucency perception from computer graphics (CG) images of objects using a psychophysical reverse-correlation method. From many trials in which the observer compared the perceptual translucency of two CG images, we obtained translucency-related patterns showing which image regions were related to perceptual translucency judgments. An analysis of the luminance statistics calculated within these image regions showed that (1) the global rms contrast within an entire CG image was not related to perceptual translucency and (2) the local mean luminance of specific image regions within the CG images correlated well with perceptual translucency. However, the image regions contributing to perceptual translucency differed greatly between observers. These results suggest that perceptual translucency does not rely on global luminance statistics such as global rms contrast, but rather depends on local image features within specific image regions. There may be some “hot spots” effective for perceptual translucency, although which of many hot spots are used in judging translucency may be observer dependent.

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Facial color varies depending on emotional state, and emotions are often described in relation to facial color. In this study, we investigated whether the recognition of facial expressions was affected by facial color and vice versa. In the facial expression task, expression morph continua were employed: fear-anger and sadness-happiness. The morphed faces were presented in three different facial colors (bluish, neutral, and reddish color). Participants identified a facial expression between the two endpoints (e.g., fear or anger) regardless of its facial color. The results showed that the perception of facial expression was influenced by facial color. In the fear-anger morphs, intermediate morphs of reddish-colored and bluish colored faces had a greater tendency to be identified as angry faces and fearful faces, respectively. In the facial color task, two bluish-to-reddish colored face continua were presented in three different facial expressions (fear-neutral-anger and sadness-neutral-happiness). Participants judged whether the facial color was reddish or bluish regardless of its expression. The faces with sad expression tended to be identified as more bluish, while the faces with other expressions did not affect facial color judgment. These results suggest that an interactive but disproportionate relationship exists between facial color and expression in face perception.

Color composition in paintings is a critical factor affecting observers’ aesthetic judgments. We examined observers’ preferences for the color composition of Japanese and Occidental paintings when their color gamut was rotated. In the experiment, observers were asked to select their preferred image from original and three hue-rotated images in a four-alternative forced choice paradigm. Despite observers’ being unfamiliar with the presented artwork, the original paintings (0 degrees) were preferred more frequently than the hue-rotated ones. Furthermore, the original paintings’ superiority was observed when the images were divided into small square pieces and their positions randomized (Scrambled condition), and when the images were composed of square pieces collected from different art paintings and composed as patchwork images (Patchwork condition). Therefore, the original paintings’ superiority regarding preference was quite robust, and the specific objects in the paintings associated with a particular color played only a limited role. Rather, the original paintings’ general trend in color statistics influenced hue-angle preference. Art paintings likely share common statistical regulations in color distributions, which may be the basis for the universality and superiority of the preference for original paintings.