Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Slides:

Advertisements

Similar presentations

Lecture 16 – Lightness Perception

Advertisements

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

PRINCIPLES OF DESIGN PHOTOGRAPHY. BALANCE Visual center is above geometric center. Visual weight is determined by many variables Size Darkness – A strong.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

1 Georgia Tech, IIC, GVU, 2006 MAGIC Lab Rossignac Perception  Human vision limitations  Levels of perception 

Vision: change, lightness, acuity

Illusions By Linda Doan. The Hermann Square Do you see gray circles in the intersection of the squares? Look again, do those circles really exist?

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Copyright © 2010 Pearson Education, Inc. Lecture Outline Chapter 22 Physics, 4 th Edition James S. Walker.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

1 Perception, Illusion and VR HNRS 299, Spring 2008 Lecture 8 Seeing Depth.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Perception 1. Inattentional Blindness Challenge: Count the number of passes the white shirts pass! VideoVideo (2mins) Video Type of selective attention.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Perception and VR MONT 104S, Fall 2008 Lecture 8 Seeing Depth

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Visual Vocabulary Elements of art, principles of design, and much more!

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

From Advanced Programming in the UNIX ® Environment, Third Edition, by W. Richard Stevens and Stephen A. Rago (ISBN-13: ). Copyright ©

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Visual Perception Human Body Systems © 2014 Project Lead The Way, Inc.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Visual Vocabulary Elements of art, principles of design, and much more!

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Perception The process of organizing and interpreting information, enabling us to recognize meaningful objects and events.

THE VISUAL SYSTEM: PERCEPTUAL PROCESSES

Visual Perception Human Body Systems © 2014 Project Lead The Way, Inc.

The Visual Pathway.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Elements and Principles of Art and Design

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Sensation and Perception

UNIT 3 ~ PHYSICS Lesson P6 Part 1 ~ Human Vision

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

INTRODUCTION TO DESIGN PRINCIPLES MOVEMENT, BALANCE, UNITY, CONTRAST, EMPHASIS, LINE, AND COLOR ® Copyright 2012 Adobe Systems Incorporated. All rights.

Perception We have previously examined the sensory processes by which stimuli are encoded. Now we will examine the ultimate purpose of sensory information.

Visual Perception Human Body Systems © 2014 Project Lead The Way, Inc.

Visual Perception Human Body Systems © 2014 Project Lead The Way, Inc.

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

UNIT 3 ~ PHYSICS Lesson P6 Part 1 ~ Human Vision

INTRODUCTION TO DESIGN PRINCIPLES MOVEMENT, BALANCE, UNITY, CONTRAST, EMPHASIS, LINE, AND COLOR ® Copyright 2012 Adobe Systems Incorporated. All rights.

Elements and Principles of Art

INTRODUCTION TO DESIGN PRINCIPLES MOVEMENT, BALANCE, UNITY, CONTRAST, EMPHASIS, LINE, AND COLOR ® Copyright 2012 Adobe Systems Incorporated. All rights.

Fangtu T. Qiu, Rüdiger von der Heydt Neuron

The Normalization Model of Attention

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following.

Finding the Elements of Art

INTRODUCTION TO DESIGN PRINCIPLES MOVEMENT, BALANCE, UNITY, CONTRAST, EMPHASIS, LINE, AND COLOR ® Copyright 2012 Adobe Systems Incorporated. All rights.

Copyright © 2014 Elsevier Inc. All rights reserved.

Successive contrast Simultaneous contrast

14. The Duck-Rabbit Illusion

35. Poggendorff Illusion The Poggendorf illusion in all its glory. You almost need a straightedge to follow the lines. Focus on the black line and follow.

Presentation transcript:

Many of the figures from this book may be reproduced free of charge in scholarly articles, proceedings, and presentations, provided only that the following citation is clearly indicated: “Reproduced with the permission of the publisher from Computer Graphics: Principles and Practice, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley. Copyright 2014 by Pearson Education, Inc.” Reproduction for any use other than as stated above requires the written permission of Pearson Education, Inc. Reproduction of any figure that bears a copyright notice other than that of Pearson Education, Inc., requires the permission of that copyright holder.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.1 The components of the visual system.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.2 Three 41 × 41-pixel images. The top image has all pixel values 118; the middle has all pixel values 128; the bottom has all pixel values 128, except the center, which is 255. The L 2 distances from the top image to each of the others are approximately equal, but this does not match our own understanding of “sameness.”

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.3 Close up, you see Einstein; from a distance, you see Marilyn Monroe. (Image courtesy of Aude Oliva, MIT.)

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.4 Light enters the eye through the pupil, then passes through the lens and vitreous humor, and arrives at the retina.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.5 Light from point A is in focus when it arrives at the surface at right; point B is out of focus.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.6 The raw response of receptors in the bright and dark regions (in blue, at top), the lateral inhibition amounts (in red, middle), and their difference—the actual response—shown in green at the bottom. Notice the enhanced contrast at the edge between light and dark, indicated by the dotted line.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.7 The dark-adapted eye’s response to light “saturates” at a fairly low stimulus level; the light-adapted eye cannot detect differences between various low-light-level stimuli.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.8 All the center squares have the same lightness; the apparent lightness, however, is profoundly influenced by the surrounding squares.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.9 The ratio of the center square’s darkness to the surrounding square’s darkness is approximately the same in each example; you tend to see the center squares as exhibiting far less variation in lightness than those in the previous figure.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.10 The diagonal line in (a) seems to pass behind the vertical strip. You strongly sense the two diagonal segments are part of a continuous whole, as shown in (b), rather than each terminating behind the vertical strip, as in (c).

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.11 Which of (a) and (b) seems to be a single continuous straight line passing behind a strip, and which looks like the two segments are parallel but not part of the same line? Place a straightedge on the figure to determine the truth.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.12 When we truncate the vertical lines so that the obscuring strip seems to be a plane parallel to one containing the line, the illusion from Figure 5.11 disappears; the same effect happens when the strip is given a texture that indicates this tilted orientation.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.13 (a) A ball moves above a three-sided tray without shadows; its motion is not strongly determined. (b) and (c) Shadows force an interpretation of the motion as being in a vertical or horizontal plane.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.14 The appearance of a contact shadow tells us quite a lot about shapes and their relationship. You perceive the two identically drawn forms quite differently when shown their nonidentical shadows.

From Computer Graphics, Third Edition, by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, and Kurt Akeley (ISBN-13: ). Copyright © 2014 by Pearson Education, Inc. All rights reserved. Figure 5.15 The grid of crosses is rotated about its center at a speed approaching ten seconds per complete rotation. The user is instructed to fixate on the center of rotation. After a moment, one or more of the other dots in the image seem to disappear.