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Museum lighting: Optimizing the illuminant

Museum lighting: Optimizing the illuminant Museums must choose illumination that will optimize observers' aesthetic experiences without compromising preservation of the artworks. Typical lighting is 3000 K at 200 lux. We examined the effects of color temperature by comparing the same “artwork” under several different illuminants (in side‐by‐side miniature museum rooms); for each painting, observers rated the preference for seeing it under one of the two illuminants; this was repeated for all pairings of illuminants. Our observers preferred higher color temperatures at about 3600 K. Between viewing trials observers' visual systems were adapted to a specific illuminant. This had no effect on preferred illumination of an artwork. To explore a wider range of artworks, we developed a set of numerical scales that could be applied directly to individual pictures; these were viewed, one at a time, in a single simulated room illuminated by one of a series of illuminants. Again, observers preferred a color temperature of about 3600 K. In both studies there was a small interaction between illuminant and color gamut of a given painting. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 121–127, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10231 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Color Research & Application Wiley

Museum lighting: Optimizing the illuminant

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References (16)

Publisher
Wiley
Copyright
Copyright © 2004 Wiley Periodicals, Inc.
ISSN
0361-2317
eISSN
1520-6378
DOI
10.1002/col.10231
Publisher site
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Abstract

Museums must choose illumination that will optimize observers' aesthetic experiences without compromising preservation of the artworks. Typical lighting is 3000 K at 200 lux. We examined the effects of color temperature by comparing the same “artwork” under several different illuminants (in side‐by‐side miniature museum rooms); for each painting, observers rated the preference for seeing it under one of the two illuminants; this was repeated for all pairings of illuminants. Our observers preferred higher color temperatures at about 3600 K. Between viewing trials observers' visual systems were adapted to a specific illuminant. This had no effect on preferred illumination of an artwork. To explore a wider range of artworks, we developed a set of numerical scales that could be applied directly to individual pictures; these were viewed, one at a time, in a single simulated room illuminated by one of a series of illuminants. Again, observers preferred a color temperature of about 3600 K. In both studies there was a small interaction between illuminant and color gamut of a given painting. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 121–127, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10231

Journal

Color Research & Application – Wiley

Published: Apr 1, 2004

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