van Doorn Andrea, Koenderink Jan, Wagemans Johan
Delft University of Technology, Industrial Design, Landbergstraat 15, NL-2628 CE Delft, The Netherlands; email:
Iperception. 2011;2(7):724-44. doi: 10.1068/i0432aap. Epub 2011 Nov 4.
We address the topic of "pictorial depth" in cases of pictures that are unlike photographic renderings. The most basic measure of "depth" is no doubt that of depth order. We establish depth order through the pairwise depth-comparison method, involving all pairs from a set of 49 fiducial points. The pictorial space for this study was evoked by a capriccio (imaginary landscape) by Francesco Guardi (1712-1793). In such a drawing pictorial space is suggested by the artist through a small set of conventional depth cues. As a result typical Western observers tend to agree largely in their visual awareness when looking at such art. We rank depths for locations that are not on a single surface and far apart in pictorial space. We find that observers resolve about 40 distinct depth layers and agree largely in this. From a previous experiment we have metrical data for the same observers. The rank correlations between the results are high. Perhaps surprisingly, we find no correlation between the number of distinct depth layers and the total metrical depth range. Thus, the relation between subjective magnitude and discrimination threshold fails to hold for pictorial depth.
我们探讨在与摄影效果图不同的图片中“画面深度”这一主题。“深度”最基本的衡量标准无疑是深度顺序。我们通过成对深度比较法来确定深度顺序，该方法涉及一组49个基准点中的所有成对组合。本研究的画面空间由弗朗切斯科·瓜尔迪（1712 - 1793）的一幅随想画（虚构风景）所唤起。在这样一幅画中，画家通过一小部分传统深度线索暗示画面空间。因此，典型的西方观察者在观看此类艺术作品时，在视觉感知上往往基本达成一致。我们对画面空间中不在单个表面且相距较远的位置进行深度排序。我们发现观察者能分辨出大约40个不同的深度层次，并且在这方面基本达成一致。从之前的一项实验中，我们得到了相同观察者的测量数据。结果之间的等级相关性很高。也许令人惊讶的是，我们发现不同深度层次的数量与总测量深度范围之间没有相关性。因此，主观量值与辨别阈值之间的关系在画面深度方面并不成立。
