Understanding gloss perception through the lens of art: Combining perception, image analysis, and painting recipes of 17th century painted grapes

Cicco, Francesca Di; Wijntjes, Maarten; Pont, Sylvia C.

doi:10.1167/19.3.7

Cited by 35 publications

(43 citation statements)

References 51 publications

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“…In previous work, Beurs' manual has supported the notion that contrast and blurriness, but not coverage of highlights, were the image features used to render the glossiness of grapes in 17th-century paintings. The grapes recipe contained in the manual also confirmed the artistic convention of using white to render highlights, thus providing an example of using key perceptual information to produce an efficient yet effective rendering of material properties (Di Cicco, Wijntjes, & Pont, 2019). We also considered Beurs' recipes for additional insights into the image features and perceptual shortcuts exploited by painters to render translucency and juiciness.…”

Section: Introductionmentioning

confidence: 83%

If painters give you lemons, squeeze the knowledge out of them. A study on the visual perception of the translucent and juicy appearance of citrus fruits in paintings

2020

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Citrus fruits are characterized by a juicy and translucent interior, important properties that drive material recognition and food acceptance. Yet, a thorough understanding of their visual perception is still missing. Using citrus fruits depicted in 17th-century paintings as stimuli, we ran three rating experiments. In Experiment 1, participants rated the perceived similarity in translucency or juiciness of the fruits. In Experiment 2, different groups of participants rated one image feature from a list obtained in a preliminary experiment. In Experiment 3, translucency and juiciness were rated. We constructed two-dimensional perceptual spaces for both material properties and fitted the ratings of the image features into the spaces to interpret them. “Highlights,” “peeled side,” “bumpiness,” and “color saturation” fit the juiciness space best and were high for the highly juicy stimuli. “Peeled side,” “intensity of light gradient,” “highlights,” and “color saturation” were the most salient features of the translucency space, being high for the highly translucent stimuli. The same image features were also indicated in a 17th-century painting manual for material depiction ( Beurs, 1692 ; Beurs, in press ). Altogether, we disclosed the expertise of painters with regard to material perception by identifying the image features that trigger a visual impression of juiciness and translucency in citrus fruits.

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Section: Introductionmentioning

confidence: 83%

If painters give you lemons, squeeze the knowledge out of them. A study on the visual perception of the translucent and juicy appearance of citrus fruits in paintings

2020

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“…Instead of strictly following physics, painters have extracted the essential visual cues needed to trigger the perception of materials. Di Cicco, Wijntjes, and Pont (2019) studied visual cues for gloss, which were implicitly discussed in a painting manual by the seventeenth-century painter Willem Beurs ( Beurs, 1692 ). They found that predictors that explained a large portion of the variance in gloss perception had implicitly been described within this seventeenth-century manual.…”

Section: Introductionmentioning

confidence: 99%

Painterly depiction of material properties

2020

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Painters are masters of depiction and have learned to evoke a clear perception of materials and material attributes in a natural, three-dimensional setting, with complex lighting conditions. Furthermore, painters are not constrained by reality, meaning that they could paint materials without exactly following the laws of nature, while still evoking the perception of materials. Paintings have to our knowledge not been studied on a big scale from a material perception perspective. In this article, we studied the perception of painted materials and their attributes by using human annotations to find instances of 15 materials, such as wood, stone, fabric, etc. Participants made perceptual judgments about 30 unique segments of these materials for 10 material attributes, such as glossiness, roughness, hardness, etc. We found that participants were able to perform this task well while being highly consistent. Participants, however, did not consistently agree with each other, and the measure of consistency depended on the material attribute being perceived. Additionally, we found that material perception appears to function independently of the medium of depiction-the results of our principal component analysis agreed well with findings in former studies for photographs and computer renderings.

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“…Berzhanskaya, Swaminathan, Beck, and Mingolla (2005) later determined the extent of the induced glossy-appearing region. A very important property of a highlight is the sharpness of its border, which is positively correlated with perceived glossiness (Di Cicco, Wijntjes, & Pont, 2019;Marlow & Anderson, 2013;Sève, 1993). However, many more highlight properties, conditions that systematically influence them, and correlated changes in perceived gloss have been identified and investigated.…”

Section: Introductionmentioning

confidence: 99%

The influence of Fresnel effects on gloss perception

Faul

2019

Journal of Vision

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Glossy surfaces reflect a mirror image of the environment. The perceived gloss depends (a) on the blurriness of this mirror image, which is a function of surface roughness, and (b) the strength of the mirror reflection, which, according to Fresnel's equations, is a function of the material's refractive index and the angle of the incident light. Investigations on gloss perception often used simplified reflection models, e.g., the Ward model (Ward, 1992), which do not correctly account for Fresnel effects. Here, possible perceptual consequences of this simplification are investigated in three experiments, in which the gloss impression produced by a physically more plausible reflection model (Fresnelbidirectional reflectance distribution function [BRDF]) is compared to the gloss produced by two variants of the Ward model under identical conditions. The results show that it is, in general, not possible to match the gloss impression elicited by a Fresnel-BRDF with a Ward-BRDF. Furthermore, compared with the Ward-BRDF, the gloss impression produced with the Fresnel-BRDF under identical conditions is, in general, stronger, more vivid, and more realistic. Gloss constancy is also improved, i.e., the gloss impression depends less on the type of illumination, the presence and properties of a floor, and surface shape. These differences are especially evident with relatively homogeneous illuminations. The results of a fourth experiment, which tested gloss constancy under changes in illumination and shape with a matching task, confirm an improved gloss constancy with a Fresnel-BRDF. Together, these findings suggest that Fresnel effects are used as a cue in gloss perception.

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Understanding gloss perception through the lens of art: Combining perception, image analysis, and painting recipes of 17th century painted grapes

Cited by 35 publications

References 51 publications

If painters give you lemons, squeeze the knowledge out of them. A study on the visual perception of the translucent and juicy appearance of citrus fruits in paintings

If painters give you lemons, squeeze the knowledge out of them. A study on the visual perception of the translucent and juicy appearance of citrus fruits in paintings

Painterly depiction of material properties

The influence of Fresnel effects on gloss perception

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