Perceptual and Artistic Principles for Effective Computer Depiction. Gaze Movement & Focal Points
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1 Perceptual and Artistic Principles for Effective Computer Depiction
2 Perceptual and Artistic Principles for Effective Computer Depiction
3 Perceptual and Artistic Principles for Effective Computer Depiction
4 Perceptual and Artistic Principles for Effective Computer Depiction
5 Gaze Movement and Focal Points Frédo Durand MIT- Lab for Computer Science
6 Focus, gaze Kathe Kollwitz Self Portrait
7 Delacroix Delacroix
8 Need for exploration Acuity not uniform Concentrated in the fovea (~2 degree) Need to align fovea with relevant features Explore our visual environment with gaze movements How we then stitch all these observations together is still a mystery
9 Saccade Used to scan the visual field Can be controlled Two phases Ballistic movement: 30 ms and up to 900 /s Fixation ~300ms Saccadic suppression No blur is experienced during the ballistic movement We suppress our vision while the gaze moves
10 Saccadic exploration Reading: Javal, 1878 Images: Yarbus, 1965 Two important issues: Path Fixation time
11 Depends on task painting by Repin B: free C: economic level D: ages E: what were they doing F: remember cloth
12 Gaze and image cognition Similar to scientific method Make hypothesis (mental model of the scene) Perform experiments (gaze)
13 David Hockney s collages Temporal too
14 Gaze movement & cubism George Bracque Le Portugais
15 Gaze attraction Bottom-up (stimulus-driven) Contrast Color Patterns Top-bottom (High-level, potentially conscious) Semantic information, familiarity Human beings, eyes Task Personal context
16 Focus via contrast
17 Foveal zone Eugene Delacroix Study for a portrait of Chopin
18 Focus through perspective Raphael, The School of Athens
19 Focus on human Chardin 1735 Compensate high-level with low-level [Baxandall Patterns of Intention]
20 Figure/ground and comics Background more detailed Low-level gaze attraction (details) conflicts/compensate for the high level (interest for the character) From
21 Diversive vs. specific Different strategies (Berlyne 1971) Diversive exploration Hunt for new stimulation Dispersed Shorter fixation (<300ms) Specific exploration Seeks specific information Longer fixation (>400ms)
22 Fixation time & style Depends on style complexity Shorter fixation for more complex style
23 Number of focal point The number of focal points is a crucial aspect of composition Dynamics of the image One region: imitates One foveation, striking Many regions: the gaze is transported, dynamism Path
24 Focus through contrast Rembrandt
25 Two focal zones Robert Mapplethorpe Self-portrait, 1988
26 Triple focus and subject gaze Robert Doisneau Les Gosses de la place Hebert The path of our gaze follows their gaze direction
27 Turner s Loire journey The gaze follows the journey [See part on motion depiction page 27]
28 Focal point conflict Bottom-up (more detail on the foot) is different from top down (attraction to faces) Makes image dynamic
29 Advertisement and focal points Evolution of saliency
30 Further reading Vision Science, from photons to phenomenology Stephen E. Palmer, MIT Press, 1999 Excellent reference on all aspects of vision Cognition and the Visual Arts Robert Solso, MIT Press, 1996 Introduction to visual perception and relation with the visual arts
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