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  1. Effects of Saturation and Contrast Polarity on the Figure-Ground Organization of Color on Gray.Birgitta Dresp-Langley & Adam Reeves - 2014 - Frontiers in Psychology 5:1-9.
    Poorly saturated colors are closer to a pure grey than strongly saturated ones and, therefore, appear less “colorful”. Color saturation is effectively manipulated in the visual arts for balancing conflicting sensations and moods and for inducing the perception of relative distance in the pictorial plane. While perceptual science has proven quite clearly that the luminance contrast of any hue acts as a self-sufficient cue to relative depth in visual images, the role of color saturation in such figure-ground organization has remained (...)
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  2. Simultaneous Brightness and Apparent Depth From True Colors on Grey: Chevreul Revisited.Birgitta Dresp-Langley & Adam Reeves - 2012 - Seeing and Perceiving 25 (6):597-618.
    We show that true colors as defined by Chevreul (1839) produce unsuspected simultaneous brightness induction effects on their immediate grey backgrounds when these are placed on a darker (black) general background surrounding two spatially separated configurations. Assimilation and apparent contrast may occur in one and the same stimulus display. We examined the possible link between these effects and the perceived depth of the color patterns which induce them as a function of their luminance contrast. Patterns of square-shaped inducers of a (...)
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  3. Color and Figure-Ground: From Signals to Qualia.Birgitta Dresp-Langley & Adam Reeves (eds.) - 2014 - Routledge.
    The laws which predict how the perceptual quality of figure-ground can be extracted from the most elementary visual signals were discovered by the Gestaltists, and form an essential part of their movement (see especially Metzger, 1930, and Wertheimer, 1923 translated and re-edited by Lothar Spillmann, 2009 and 2012, respectively). Distinguishing figure from ground is a prerequisite for perception of both form and space (the relative positions, trajectories, and distances of objects in the visual field. The human brain has an astonishing (...)
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