Three-Dimensional Perception of Planar Line Segments

Perception ◽  
1979 ◽  
Vol 8 (4) ◽  
pp. 381-388
Author(s):  
Horst W Hoyer
Keyword(s):  
Short Distance ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Line Segments ◽  
Planar Line ◽  
Line Drawings ◽  
Parallel Lines ◽  
Three Dimensional Images

Two-dimensional line drawings can be perceived as three-dimensional images if they are viewed through a grating of parallel lines placed a short distance above the drawing. The position in space of the images is a function of the angle between the lines in the drawing and those in the viewer grating.

scholarly journals Visual Depth Perception of three dimensional images and two dimensional images

1990 ◽  
Vol 26 (Supplement) ◽  
pp. 248-249
Author(s):  
Am CHO ◽  
Kageyu NORO ◽  
Shinya KOSHIE ◽  
Atsuko HONDO ◽  
Sakae YAMAMOTO
Keyword(s):  
Depth Perception ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Visual Depth ◽  
Three Dimensional Images ◽  
Two Dimensional Images

Apparent Shape of the Mach Book

Perception ◽  
1996 ◽  
Vol 25 (3) ◽  
pp. 313-319 ◽  
Author(s):  
Richard A Clement
Keyword(s):  
Piecewise Linear ◽  
Three Dimensional ◽  
Linear Functions ◽  
Two Dimensional ◽  
Piecewise Linear Functions ◽  
Common Edge ◽  
Edge Orientation ◽  
Line Drawings ◽  
Alternative Hypotheses

The Mach book is a two-dimensional figure which looks three-dimensional. Despite the impression of depth in the figure, the apparent shape has not been determined. It has been suggested that the book appears as part of a ‘cubic corner’, ‘as flat as possible’, or with each half rotated about its long diagonal. Alternative hypotheses as to the three-dimensional orientation of the book were tested by means of a probe-line technique. It was found that, although no hypothesis matched the results of all of the subjects, the probe-line settings of individual subjects were approximately linear or piecewise linear functions of the angles in the picture. The technique was also applied to asymmetric versions of the figure and it was found that the subjects modified their settings in accord with the constraint that the two halves of the figure must join in depth along their common edge. The findings are in agreement with models of the interpretation of line drawings in which local estimates of edge orientation in depth are formed, and subsequently checked for consistency.

Wayfaring Images

2018 ◽  
Author(s):  
Nathalie Collé-Bak
Keyword(s):  
Three Dimensional ◽  
Photographic Film ◽  
Two Dimensional ◽  
Book Market ◽  
Pilgrim's Progress ◽  
Cultural Boundaries ◽  
Three Dimensional Images ◽  
The Way

The Pilgrim’s Progress (1678; 1684) has been illustrated in many different forms and media, from its early days on the book market up until today. For over the last three centuries, John Bunyan’s allegory has inspired illustrators in numerous and varied ways, the images born of the text having materialized on book pages as well as on individual sheets, but also on canvas, photographic film, glass panes, and walls. Two-dimensional creations have also led the way to three-dimensional images, exhibited or performed in a variety of places and for a whole range of publics. This chapter contends that these sundry ‘illustrations’, by professional as well as amateur artists, have secured the diffusion and the popularity of the text through its temporal and geographical journeys, and across cultural boundaries.

Fictional Illustration Language with Reference to M. C. Escher and Istvan Orosz Examples

2017 ◽  
Vol 4 (11) ◽  
pp. 156-163
Author(s):  
Banu Bulduk Turkmen
Keyword(s):  
Visual Perception ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Technical Aspects ◽  
New Approaches ◽  
Alternative Approaches ◽  
The Subject ◽  
Three Dimensional Images

Alternative approaches in illustration language have constantly been developing in terms of material and technical aspects. Illustration languages also differ in terms of semantics and form. Differences in formal expressions for increasing the effect of the subject on the audience lead to diversity in the illustrations. M. C. Escher’s three-dimensional images to be perceived in a two-dimensional environment, together with mathematical and symmetry-oriented studies and the systematic formed by a numerical structure in its background, are associated with the notion of illustration in terms of fictional meaning. Istvan Orosz used the technique of anamorphosis and made it possible for people to see their perception abilities and visual perception sensitivities in different environments created by him. This study identifies new approaches and illustration languages based on the works of both artists, bringing an alternative proposition to illustration languages in terms of systematic sub-structure and fictional idea sketches. Keywords: Perception, illusion, illustration, fictional illustration, illustration languages, visual perception.

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