Cookies Policy

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

Compositorial ‘Weight’ & ‘Luminance’

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

image of Art & Perception

Compositorial weight might be understood as an operational definition of salience. It is not a psychophysical entity, but holds a key position between psychophysics and aesthetics. Several factors ranging over raw photometric/colorimetric parameters, various kinds of psychophysical contrast, image geometry, even semantic properties are readily shown to influence weight. A down-to-earth proposition is that luminance might play a dominant role. We investigate this notion and show that luminance per se is hardly important, except in certain paradigms like the ones considered here. We find that observers indeed readily judge weight based on luminance in such paradigms, although there are strong idiosyncratic differences. Our results have some generic implications for graphical design.

Affiliations: 1: Experimental Psychology, University of Leuven (KU Leuven), Belgium ; 2: Experimental Psychology, Utrecht University, The Netherlands ; 3: Abteilung Allgemeine Psychologie, Justus-Liebig Universität, Giessen, Germany


Full text loading...


Data & Media loading...

1. Buck S. L. (2014). "Dark versus bright equilibrium hues: rod and cone biases", J. Opt. Soc. Am. A Vol 31, 7581.
2. Commission Internationale de l’éclairage (CIE) (1990). CIE 1988, 2° spectral luminous efficiency function for photopic vision. Publ. No. 86, Bureau Central CIE, Paris, France, pp. 1–11.
3. Dondis D. A. (1973). A Primer of Visual Literacy . MIT Press, Cambridge, MA, USA.
4. Eisner A., and MacLeod D. I. A. (1980). "Blue-sensitive cones do not contribute to luminance", J. Opt. Soc. Am. A Vol 70, 121123.
5. Graves M. (1951). The Art of Color and Design . McGrawHill, New York, NY, USA.
6. Koenderink J. J.,, Van Doorn A. J., and Gegenfurtner K. (in press). Color weight photometry, Vis. Res. doi:10.1016/j.visres.2017.06.006.
7. Locher P.,, Overbeeke K., and Stappers P. J. (2005). "Spatial balance of color triads in the abstract art of Piet Mondrian", Perception Vol 34, 169189.
8. MacManus I. C.,, Edmondson D., and Rodger J. (1985). "Balance in pictures", Br. J. Psychol. Vol 76, 311324.
9. Metelli F. (1970). An Algebraic Development of the Theory of Perceptual Transparency . Contemporary Problems in Perception. Taylor and Francis, London, UK.
10. Metelli F. (1974). "The perception of transparency", Sci. Am. Vol 230, 9198.
11. Mokaran M. A. (2007). Visual Balance in Engineering Design for Aesthetic Value . Thesis, University of Saskatchewan, Saskatoon, SK, Canada.
12. Monroe M. (1926). "The apparent weight of color and correlated phenomena", Am. J. Psychol. Vol 36, 192206.
13. Morriss R. H.,, Dunlap W. P., and Hammond S. E. (1982). "Influence of chroma on spatial balance of complementary hues", Am. J. Psychol. Vol 95, 323332.
14. Parada-Castellano R. (2016). "Study of balance of images using visual weight, COLOR Res". Appl. Vol 41, 175187.
15. Pinkerton E., and Humphrey N. (1974). "The apparent heaviness of colours", Nature Vol 250(5642), 164165.
16. Sanda Mahama A. T.,, Dossa A. S., and Gouton P. (2016). Choice of distance metrics for RGB color image analysis, IS&T International Symposium on Electronic Imaging 2016 , Color Imaging XXI: Displaying, Processing, Hardcopy, and Applications, San Francisco, CA, USA, pp. 349.1349.4.
17. Schopenhauer A. (1870). Über das Sehn und die Farben , 3rd ed. Julius Brockhaus, Leipzig, Germany.
18. Simmons G. (1992). The Technical Pen, Techniques for Artists . Watson-Guptill, New York, NY, USA.
19. Smith V. C., and Pokorny J. (1987). "Is there a luminance channel?" Farbe Vol 34, 123128.
20. Speed H. (1913). The Practice and Science of Drawing . Seeley, Service & Co., London, UK.
21. Takahashi S.,, Ohya K.,, Arakawa K., and Ishisaka Y. (2010). "Perceived strength of edge, depth and brightness of the Kanizsa illusion as a function of the color contrast between figures and background". Gestalt Theory Vol 32, 155166.
22. Taylor J. F. A. (1964). Design and Expression in the Visual Arts . Dover, New York, NY, USA.
23. To L.,, Woods R. L.,, Goldstein R. B., and Peli E. (2013). "Psychophysical contrast calibration", Vis. Res. Vol 90, 1524.
24. Wise B. K., and Wise J. A. (1988). The Human Factors of Color in Environmental Design: A Critical Review . NASA contractor report 177498. Retrieved from; last accessed 3 July 2017.
25. Wolberg J. (2005). Data Analysis Using the Method of Least Squares: Extracting the Most Information from Experiments . Springer, Berlin, Germany.
26. Wong W. (1993). Principles of Form and Design . Van Nostrand Reinhold, New York, NY, USA.
27. Wright B. (1962). "The influence of hue, lightness and saturation on apparent warmth and weight", Am. J. Psychol. Vol 75, 232241.

Article metrics loading...



Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
    Art & Perception — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation