Highlight shapes and perception of gloss for real and photographed objects

Abstract

Gloss perception strongly depends on the three-dimensional shape and the illumination of the object under consideration. In this study we investigated the influence of the spatial structure of the illumination on gloss perception. A diffuse light box in combination with differently shaped masks was used to produce a set of six simple and complex highlight shapes. The geometry of the simple highlight shapes was inspired by conventional artistic practice (e.g., ring flash for photography, window shape for painting and disk or square for cartoons). In the box we placed spherical stimuli that were painted in six degrees of glossiness. This resulted in a stimulus set of six highlight shapes and six gloss levels, a total of 36 stimuli. We performed three experiments of which two took place using digital photographs on a computer monitor and one with the real spheres in the light box. The observers had to perform a comparison task in which they chose which of two stimuli was glossiest and a rating task in which they rated the glossiness. The results show that, perhaps surprisingly, more complex highlight shapes were perceived to produce a less glossy appearance than simple highlight shapes such as a disk or square. These findings were confirmed for both viewing conditions, on a computer display and in a real setting. The results show that variations in the spatial structure of "rather simple" illumination of the "extended source" type highlight influences perceived glossiness.

A systematic approach to testing and predicting light-material interactions

“…For example, smooth surfaces appear glossier under collimated light sources than under broad diffuse light sources (Dror, Willsky, & Adelson, 2004;Pont & te Pas, 2006); different natural lighting environments have been shown to affect perceived glossiness to different amounts (Fleming, Dror, & Adelson, 2003;Döerschner, Boyaci, & Maloney, 2010;Olkkonen & Brainard, 2010;Marlow, Kim, & Anderson, 2012). More recently, Motoyoshi and Matoba (2012) found that changes in the contrast and gamma of the illumination affect perceived glossiness, and the orientation of highlights and the shape of highlights (due to differently shaped light sources) was found to affect the perception of gloss (Marlow, Kim, & Anderson, 2011;van Assen, Wijntjes, & Pont, 2016). Human judgments of qualities such as glossy, smooth, or soft have been found to be systematically related to material classes (Fleming, Wiebel, & Gegenfurtner, 2013) and lighting (Barati, Karana, Sekulovski, & Pont, 2017).…”

Solution of creative design of artistic and decorative form depending on the used materials

“…Питання синтезу монументального мистецтва і просторового середовища, на прикладах робіт найяскравіших художниківмонументалістів того часу розглянуто у [7,8]. Особливу увагу заслуговує стаття нідерландських дослідників [9,10], стосовно впливу освітлення просторової структури на сприйняття блиску в творах мистецтв в середовищі. Проведений аналіз історичного досвіду виявив, що існує нестаток потрібної літератури і науково-методичного забезпечення в практичному використанні, стосовно вирішення творчого задуму композиції художньо-декоративної форми в колористич-МИСТЕЦТВОЗНАВСТВО ному просторі інтерєрного середовища, в залежності від застос+ованих матеріалів в сучасному мистецтві, орієнтованого для використання в практичній роботі дизайнерів і художників.…”

“…Тектонічність в живописі передбачає використання особливостей матеріалу. Наприклад в акварелі -прозорість, в олійному живописі -не прозорість [9]. У графіці тектонічність -це максимальне використання графічності матеріалу (різноманітність штриха, товщини лінії, фактурності матеріалу, тону, плями та ін.).…”

Energy efficiency aspects of coloristic opportunities of interior space with inclusion of artistic-decorative forms

“…Analysis of previous studies. Today, there are many fundamental works on the color, the possibilities of colorization, lighting, light and color reflexes and the ecological approach in the design of the interior environment, for exam- [19], concerning the influence of the illumination of the spatial structure on the perception of brilliance in the works of arts in the environment deserves the particular attention. Also, it should be noted that today there is a shortage of literature and scientific and methodological support in Similarly, it is necessary to take a number of external factors into account this is an exterior, where the influence may be geographic (northern or southern regions), the orientation of the room on the world side, the texture of the neighboring surfaces, as well as a certain number of light beams with their brightness and reflectivity force.…”

“…Artistic-decorative surfaces, having a certain shape, given the compositional idea, depending on the source of light, the color environment, as well as its texture and volume, will have different areas, respectively, the degree of color intensity, the presence of their own and the falling shadow. [19] In the field of physics, we know that color is capable of absorbing that all objects in the surrounding world are sources of own or reflected light. According to the theory of English physicist, mathematician and astronomer I. Newtonthe angle of incidence is equal to the angle of reflection.…”