Daniele Zavagno

On the Portability of Computer-Generated Presentations: The Effect of Text-Background Color Combinations on Text Legibility

Objective: The aim of our study was to investigate which text-background (TB) color combinations improve legibility and pleasantness of texts either presented on a computer screen or projected on a wider surface. Background: Our work stems from the observation that multimedia presentations, even those by professionals in visual disciplines, are often spoiled by illegibility, which affects readability and the pleasantness of attending to such presentations. Methods: We investigated this problem through three experiments. Experiment 1 assessed the best TB color combinations in slides presented on a laptop. Experiment 2 verified the correlation between legibility and pleasantness for TB presentations. Experiment 3 investigated the legibility of a slide projected on a wide screen in different room lighting conditions. In all experiments participants expressed a rating score for stimulus legibility or pleasantness. Results: Experiments 1 and 3 showed that it is best to have a dark text on a light background for both displayed and projected texts. Experiment 2 showed that pleasantness is tightly correlated with legibility, though legibility depends on contrast between text and background. Conclusions: Our findings are not in complete agreement with the literature concerning legibility of text displayed on a computer screen, and they are in contrast with the common belief that for projection purposes it is best to have a light text on a dark background. Applications: Some practical rules on combining TB colors are given to enhance the legibility of presentations, especially important for the legibility of projected texts.

Glowing greys and surface-white: the photo-geometric factors of luminosity perception.

The perception of luminosity is thought to depend upon the intensity of the stimulus: a surface begins to appear self-luminous when it emits or reflects a certain amount of light. This is known as the luminosity threshold. It is a common opinion among vision scientists that such a threshold is correlated to the intensity of a perceptually white surface, in the sense that only an area of the visual field with luminance higher than perceived surface-white will appear luminous. Here we show grey colours that appear luminous in virtue of surrounding luminance ramps. These ramps are intended to mimic halos seen around light sources in natural environments. The results of three experiments indicate that the phenomenon is in direct contradiction to the aforementioned assumptions and suggest the existence of separate perceptual pathways for self-luminosity perception and for surface-colour perception.

The Glare Effect Does Not Give Rise to a Longer-Lasting Afterimage

The glare effect is an illusion in which a region appears self-luminous when flanked by gradients that decrease in luminance with distance from the region (Zavagno, 1999 Perception 28 835–838). This region also appears brighter than a surface of the same luminance. We investigated, using the paradigm of afterimages, whether a low-level mechanism at the level of the retina or LGN could account for this apparent brighter sensation. We first replicated the result from the literature that brighter and longer-lasting physical stimuli generate longer-lasting afterimages. We then compared the glare-effect stimuli with their counterpart controls, and found that the glare-effect stimuli did not give rise to longer-lasting afterimages. This suggests that the apparent brighter sensation of the glare effect is not due to a retinal or LGN mechanism, but must have a cortical origin.

Colours in black and white : The depiction of lightness and brightness in achromatic engravings before the invention of photography

What is it like to see the world in black and white? In the pioneer days of cinema, when movies displayed grey worlds, was it true that no ‘colours’ were actually seen? Did every object seen in those projections appear grey in the same way? The answer is obviously no-people in those glorious days were seeing a world full of light, shadows, and objects in which colours were expressed in terms of lightness. But the marvels of grey worlds have not always been so richly displayed. Before the invention of photography, the depiction of scenes in black-and-white had to face some technical and perceptual challenges. We have studied the technical and perceptual constraints that XV-XVIII century engravers had to face in order to translate actual colours into shades of grey. An indeterminacy principle is considered, according to which artists had to prefer the representation of some object or scene features over others (for example brightness over lightness). The reasons for this lay between the kind of grey scale technically available and the kind of information used in the construction of 3-D scenes. With the invention of photography, photomechanical reproductions, and new printing solutions, artists had at their disposal a continuous grey scale that greatly reduces the constraints of the indeterminacy principle.

Lightness Effects in Delboeuf and Ebbinghaus Size-Contrast Illusions

We examined lightness effects observed in Delboeuf and Ebbinghaus size-contrast illusions. Results of four experiments are reported. Experiment 1 was conducted with Delboeuf-like stimuli and shows that the disk that appears bigger appears either lighter or darker than the disk that appears smaller, depending on the contrast polarity between disks and background. Experiment 2 shows that the direction of these lightness effects is not influenced by the luminance of the size-contrast inducers. Experiment 3 shows that a similar lightness effect is also observed in modified Ebbinghaus size-contrast displays. Experiment 4 tested the presence of the size-contrast illusion in the stimuli used in experiments 2 and 3.

The Eye Pupil’s Response to Static and Dynamic Illusions of Luminosity and Darkness

Pupil diameters were recorded with an eye-tracker while participants observed cruciform patterns of gray-scale gradients that evoked illusions of enhanced brightness (glare) or of enhanced darkness. The illusions were either presented as static images or as dynamic animations which initially appeared as a pattern of filled squares that—in a few seconds—gradually changed into gradients until the patterns were identical to the static ones. Gradients could either converge toward the center, resulting in a central region of enhanced, illusory, brightness or darkness, or oriented toward each side of the screen, resulting in the perception of a peripheral ring of illusory brightness or darkness. It was found that pupil responses to these illusions matched both the direction and intensity of perceived changes in light: Glare stimuli resulted in pupil constrictions, and darkness stimuli evoked dilations of the pupils. A second experiment found that gradients of brightness were most effective in constricting the pupils than isoluminant step-luminance, local, variations in luminance. This set of findings suggest that the eye strategically adjusts to reflect in a predictive manner, given that these brightness illusions only suggest a change in luminance when none has occurred, the content within brightness maps of the visual scene.

Mishaps, errors, and cognitive experiences: on the conceptualization of perceptual illusions

Although a visual illusion is often viewed as an amusing trick, for the vision scientist it is a question that demands an answer, which leads to even more questioning. All researchers hold their own chain of questions, the links of which depend on the very theory they adhere to. Perceptual theories are devoted to answering questions concerning sensation and perception, but in doing so they shape concepts such as reality and representation, which necessarily affect the concept of illusion. Here we consider the macroscopic aspects of such concepts in vision sciences from three classic viewpoints—Ecological, Cognitive, Gestalt approaches—as we see this a starting point to understand in which terms illusions can become a tool in the hand of the neuroscientist. In fact, illusions can be effective tools in studying the brain in reference to perception and also to cognition in a much broader sense. A theoretical debate is, however, mandatory, in particular with regards to concepts such as veridicality and representation. Whether a perceptual outcome is considered as veridical or illusory (and, consequently, whether a class of phenomena should be classified as perceptual illusions or not) depends on the meaning of such concepts.

Measuring the meter: on the constancy of lightness scales seen against different backgrounds

The constancy of a 16-step achromatic Munsell scale was tested with regards to background variations in two experiments. In experiment 1 three groups of observers were asked to find lightness matches for targets in simultaneous lightness displays by using a 16-step achromatic Munsell scale placed on a white, black, or white-black checkered background. In experiment 2, a yellow-blue checkered background and a green-red checkered background replaced Munsell scales on the black and on the white backgrounds. Significant effects of scale background on matches were found only in experiment 1, suggesting that background luminance is a crucial factor in the overall appearance of the scale. The lack of significant differences in experiment 2, however, may stand for an overall robustness of the scale with respect to background luminance changes occurring within certain luminance ranges.

San Lorenzo and the Poggendorff illusion in Ravenna

In the Mausoleum of Galla Placidia (Ravenna, Italy), the San Lorenzo lunette shows two peculiar visual effects: a transparency effect of gold seen through gold and perceptual collinearity between two parts of a cross which are physically misaligned. Both effects are found within the area of the halo surrounding the saints head. In this work we addressed the problem posed by the physical misalignment of the cross. Our hypothesis is that the physical misalignment went unnoticed throughout history because the artist produced a perceptual alignment to correct for the Poggendorff illusion. Hence, we asked observers to align two ends of a cross in a reproduction showing the silhouette of San Lorenzos torso holding the cross. Results support our hypothesis: both direction and magnitude of adjustments comply with the alignment in the original mosaic.

The Glare Effect Test and the Impact of Age on Luminosity Thresholds

The glare effect (GE) is an illusion in which a white region appears self-luminous when surrounded by linearly decreasing luminance ramps. It has been shown that the magnitude of the luminosity effect can be modulated by manipulating the luminance range of the gradients. In the present study we tested the thresholds for the GE on two groups of adults: young (20–30 years old) and elderly (60–75 years old). Purpose of our perspective study was to test the possibility of transforming the GE into a test that could easily measure thresholds for luminosity and discomfort glare. The Glare Effect Test (GET) consisted in 101 printed cards that differed from each other for the range of luminance ramps. Participants were assessed with GET and a battery of visual tests: visual acuity, contrast sensitivity, illusion of length perception, and Ishihara test. Specifically in the GET, participants were required to classify cards on the basis of two reference cards (solid black-no gradient; full range black to white gradient). PSEs of the GE show no correlation with the other visual tests, revealing a divergent validity. A significant difference between young and elderly was found: contrary to our original expectations, luminosity thresholds of GE for elderly were higher than those for young, suggesting a non-direct relationship between luminosity perception and discomfort glare.