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題名 從物體實際尺寸對深度空間構圖的影響探討視覺平衡之心理歷程
Exploring the mental process of visual balance in composition with depth: the effect of actual size of objects作者 何崇瑋
Ho, Cong-Wei貢獻者 黃淑麗
Huang, Shwu-Lih
何崇瑋
Ho, Cong-Wei關鍵詞 視覺平衡
眼動
凝視點
深度知覺
Visual balance
Eye-movement tracking
Eye fixations
Depth perception日期 2019 上傳時間 6-十一月-2019 15:27:01 (UTC+8) 摘要 「視覺平衡」是影響視覺藝術美感的重要因素，但是過去的研究都停留在二維空間的平面刺激，從未有人對具有深度線索的畫面研究視覺平衡。Arnheim（1974）提出深度空間的平衡理論，認為空間深度愈深會增加物體的視覺重量，因此物體在畫中的尺寸要近大遠小才得以達到視覺平衡，然而卻沒有實證研究證明之。而過去對視覺平衡的研究大多使用簡單材料（幾何形狀、純色色塊等），但常因不同的研究程序產生不一樣的結果，更且研究結果可能無法解釋現實生活中的審美行為。因此，本研究探討一近一遠的兩個物體在具空間深度的畫面下的視覺平衡，且實驗一從真實視覺藝術著手，分析參與者對每件作品所知覺到的平衡程度與美感程度以及觀看時的眼動資料，找出人們視覺平衡的心理歷程。實驗二再從統一環境下自行拍攝靜物照片，去除真實藝術其複雜性所帶來的潛在混淆變項以驗證實驗一的結果。實驗三再以簡單幾何體替代實驗二的靜物，驗證去除實際尺寸的背景知識對視覺平衡的影響。本研究發現，物體實際尺寸的背景知識是影響Arnheim（1974）深度空間的平衡理論是否正確的重要因素。其中兩個物體近小遠大的構圖最能讓人感受到視覺平衡與美感，且眼睛凝視點有反映出畫面平衡程度的可能性。本研究從繁到簡的實驗方法能給予後人進行審美相關研究時的參考，研究結果也能給予視覺藝術創作者實際應用上的建議。
It is well known that even distribution of visual weight in a frame will achieve visual balance. However, this phenomenon has not been thoroughly studied. For example, no research has been conducted to explore visual balance in a composition with depth cues. This study aimed to verify Arnheim’s (1974) claim that an element with greater depth will carry more visual weight in a picture. Previous studies of visual balance mostly utilized simple materials, such as color patches and geometrical figures, as experimental stimuli. However, different procedures using similar simple materials often resulted in different outcomes. Even worse, these results may not reflect how people appreciate real visual arts. Hence, this research focused on the composition of two objects in different depth, and tried to figure out the mental processes of visual balance by analyzing eye tracking data and subjective judgements of visual balance and beauty. Experiment 1 used artworks of a real visual art – photography as material to address the issue first. Experiment 2 used still-life photos taken by ourselves with the same background to rule out the potential confounding variables of Experiment 1. In Experiment 3, the still-life objects of Experiment 2 were replaced with geometrical solids to exclude the background knowledge of object size. It turned out that the knowledge of actual size of objects affects the predictive power of Arnheim’s (1974) visual balance theory in the composition with depth. Also, the composition with a large far-object and a small near-object was perceived to be the most balanced and beautiful one. Moreover, there is some possibility of reflecting the level of visual balance of photos by analyzing eye fixations. The research strategy of this study which started with complex stimuli then gradually reduced to simple stimuli offers an alternative method for future aesthetic research. The results of this study can also provide practical suggestions for visual artists.參考文獻 Alexander, K. R., & Shansky, M. S. (1976). Influence of hue, value, and chroma on the perceived heaviness of colors. Perception Psychophysics, 19(1), 72-74.Anderson, C. A. (2012). Beauty: First Edition Design Pub.Arnheim, R. (1974). Art and visual perception: Univ of California Press.Banerjee, S., & Evans, B. L. (2007). In-camera automation of photographic composition rules. IEEE Transactions on Image Processing, 16(7), 1807-1820.Bell, C. (1924). Art. 1914. London: Chatto Windus.Berlyne, D. E. (1971). Aesthetics and psychobiology (Vol. 336): Appleton-Century-Crofts New York.Bertamini, M., Bennett, K. M., & Bode, C. (2011). The anterior bias in visual art: The case of images of animals. Laterality: Asymmetries of Body, Brain and Cognition, 16(6), 673-689.Brachmann, A., & Redies, C. (2017). Computational and experimental approaches to visual aesthetics. Frontiers in computational neuroscience, 11, 102.Bradley, S. (2014). Design Principles: Visual Weight And Direction. Retrieved from https://www.smashingmagazine.com/2014/12/design-principles-visual-weight-direction/Brandt, H. F. (1945). The psychology of seeing. Oxford, England: Philosophical Library.Bullough, E. (1907). On the apparent heaviness of colours: a contribution to the aesthetics of colour. British Journal of Psychology, 2(2), 111-152.Carpenter, P. (1971). Art and ideas: An approach to art appreciation.Findlay, J. M., & Gilchrist, I. D. (2003). Active vision: The psychology of looking and seeing: Oxford University Press.Gershoni, S., & Hochstein, S. (2011). Measuring pictorial balance perception at first glance using Japanese calligraphy. i-Perception, 2(6), 508-527.Jacobsen, T. (2006). Bridging the arts and sciences: A framework for the psychology of aesthetics: MIT Press.Jahanian, A., Vishwanathan, S., & Allebach, J. P. (2015). Learning visual balance from large-scale datasets of aesthetically highly rated images. Paper presented at the Human Vision and Electronic Imaging XX.Kodak. (1987). How to Take Good Pictures: A Photo Guide by Kodak: Ballantine Books.Konkle, T., & Oliva, A. (2011). Canonical visual size for real-world objects. Journal of Experimental Psychology: Human Perception and Performance, 37(1), 23.Lévi-Strauss, C. (1966). The savage mind: University of Chicago Press.Lauer, D. A., & Pentak, S. (2011). Design basics: Cengage Learning.Leyssen, M. H., Linsen, S., Sammartino, J., & Palmer, S. E. (2012). Aesthetic preference for spatial composition in multiobject pictures. i-Perception, 3(1), 25-49.Linnett, C. M., Morriss, R. H., Dunlap, W. P., & Fritchie, C. J. (1991). Differences in color balance depending upon mode of comparison. The Journal of general psychology, 118(3), 271-283.Linsen, S., Leyssen, M. H., Sammartino, J., & Palmer, S. E. (2011). Aesthetic preferences in the size of images of real-world objects. Perception, 40(3), 291-298.Locher, P., & Nagy, Y. (1996). Vision spontaneously establishes the percept of pictorial balance. Empirical Studies of the Arts, 14(1), 17-31.Locher, P., Overbeeke, K., & Stappers, P. J. (2005). Spatial balance of color triads in the abstract art of Piet Mondrian. Perception, 34(2), 169-189.Locher, P. J. (2003). An empirical investigation of the visual rightness theory of picture perception. Acta Psychologica, 114(2), 147-164.Locher, P. J., & Nodine, C. F. (1987). Symmetry catches the eye Eye Movements from Physiology to Cognition (pp. 353-361): Elsevier.Locher, P. J., Stappers, P. J., & Overbeeke, K. (1998). The role of balance as an organizing design principle underlying adults` compositional strategies for creating visual displays. Acta Psychologica, 99(2), 141-161.Mack, J. (2007). The art of small things: Harvard University Press.McManus, I., Edmondson, D., & Rodger, J. (1985). Balance in pictures. British Journal of Psychology, 76(3), 311-324.McManus, I., Stöver, K., & Kim, D. (2011). Arnheim`s Gestalt theory of visual balance: Examining the compositional structure of art photographs and abstract images. i-Perception, 2(6), 615-647.McManus, I. C., Cheema, B., & Stoker, J. (1993). The aesthetics of composition: a study of Mondrian. Empirical Studies of the Arts, 11(2), 83-94.Monroe, M. (1925). The apparent weight of color and correlated phenomena. The American Journal of Psychology, 36(2), 192-206.Morriss, R. H., & Dunlap, W. P. (1987). Influence of Value on Spatial Balance of Color Pairs. The Journal of general psychology, 114(4), 353-361.Morriss, R. H., & Dunlap, W. P. (1988a). Influence of chroma and hue on spatial balance of color pairs. Color Research Application, 13(6), 385-388.Morriss, R. H., & Dunlap, W. P. (1988b). Joint effects of chroma and value on spatial balance of color pairs. Empirical Studies of the Arts, 6(2), 117-126.Niekamp, W. (1981). An exploratory investigation into factors affecting visual balance. Educational Technology Research and Development, 29(1), 37-48.Nodine, C. F., Locher, P. J., & Krupinski, E. A. (1993). The role of formal art training on perception and aesthetic judgment of art compositions. Leonardo, 26(3), 219-227.Norman, D. (2004). Introduction to This Special Section on Beauty, Goodness, and Usability. Human-Computer Interaction, 19(4), 311-318. doi:10.1207/s15327051hci1904_1Obrador, P., Schmidt-Hackenberg, L., & Oliver, N. (2010). The role of image composition in image aesthetics. Paper presented at the 2010 IEEE International Conference on Image Processing.Pinkerton, E., & Humphrey, N. K. (1974). The apparent heaviness of colours. Nature, 250(5462), 164.Quian Quiroga, R., & Pedreira, C. (2011). How do we see art: an eye-tracker study. Frontiers in human neuroscience, 5, 98.Ronchi, L. R. (2002). Balancing visual weights. Ophthalmic Physiological Optics, 22(5), 416-419.Ronchi, L. R. (2011). The visual balance between globality and interactions: Lucia Ronchi.Sammartino, J., & Palmer, S. E. (2012). Aesthetic issues in spatial composition: Effects of vertical position and perspective on framing single objects. Journal of Experimental Psychology: Human Perception and Performance, 38(4), 865.Wilson, A., & Chatterjee, A. (2005). The assessment of preference for balance: Introducing a new test. Empirical Studies of the Arts, 23(2), 165-180.林幸蓉. (2014). 幾何圖像的平衡度與偏好度知覺歷程研究. 林幸蓉.梅常青. (2004). 谈摄影构图的特点. 艺术研究: 哈尔滨师范大学艺术学院学报(4), 59-59. 描述 碩士
國立政治大學
心理學系
106752002資料來源 http://thesis.lib.nccu.edu.tw/record/#G0106752002 資料類型 thesis dc.contributor.advisor 黃淑麗 zh_TW dc.contributor.advisor Huang, Shwu-Lih en_US dc.contributor.author (作者) 何崇瑋 zh_TW dc.contributor.author (作者) Ho, Cong-Wei en_US dc.creator (作者) 何崇瑋 zh_TW dc.creator (作者) Ho, Cong-Wei en_US dc.date (日期) 2019 en_US dc.date.accessioned 6-十一月-2019 15:27:01 (UTC+8) - dc.date.available 6-十一月-2019 15:27:01 (UTC+8) - dc.date.issued (上傳時間) 6-十一月-2019 15:27:01 (UTC+8) - dc.identifier (其他 識別碼) G0106752002 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/127214 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 心理學系 zh_TW dc.description (描述) 106752002 zh_TW dc.description.abstract (摘要) 「視覺平衡」是影響視覺藝術美感的重要因素，但是過去的研究都停留在二維空間的平面刺激，從未有人對具有深度線索的畫面研究視覺平衡。Arnheim（1974）提出深度空間的平衡理論，認為空間深度愈深會增加物體的視覺重量，因此物體在畫中的尺寸要近大遠小才得以達到視覺平衡，然而卻沒有實證研究證明之。而過去對視覺平衡的研究大多使用簡單材料（幾何形狀、純色色塊等），但常因不同的研究程序產生不一樣的結果，更且研究結果可能無法解釋現實生活中的審美行為。因此，本研究探討一近一遠的兩個物體在具空間深度的畫面下的視覺平衡，且實驗一從真實視覺藝術著手，分析參與者對每件作品所知覺到的平衡程度與美感程度以及觀看時的眼動資料，找出人們視覺平衡的心理歷程。實驗二再從統一環境下自行拍攝靜物照片，去除真實藝術其複雜性所帶來的潛在混淆變項以驗證實驗一的結果。實驗三再以簡單幾何體替代實驗二的靜物，驗證去除實際尺寸的背景知識對視覺平衡的影響。本研究發現，物體實際尺寸的背景知識是影響Arnheim（1974）深度空間的平衡理論是否正確的重要因素。其中兩個物體近小遠大的構圖最能讓人感受到視覺平衡與美感，且眼睛凝視點有反映出畫面平衡程度的可能性。本研究從繁到簡的實驗方法能給予後人進行審美相關研究時的參考，研究結果也能給予視覺藝術創作者實際應用上的建議。 zh_TW dc.description.abstract (摘要) It is well known that even distribution of visual weight in a frame will achieve visual balance. However, this phenomenon has not been thoroughly studied. For example, no research has been conducted to explore visual balance in a composition with depth cues. This study aimed to verify Arnheim’s (1974) claim that an element with greater depth will carry more visual weight in a picture. Previous studies of visual balance mostly utilized simple materials, such as color patches and geometrical figures, as experimental stimuli. However, different procedures using similar simple materials often resulted in different outcomes. Even worse, these results may not reflect how people appreciate real visual arts. Hence, this research focused on the composition of two objects in different depth, and tried to figure out the mental processes of visual balance by analyzing eye tracking data and subjective judgements of visual balance and beauty. Experiment 1 used artworks of a real visual art – photography as material to address the issue first. Experiment 2 used still-life photos taken by ourselves with the same background to rule out the potential confounding variables of Experiment 1. In Experiment 3, the still-life objects of Experiment 2 were replaced with geometrical solids to exclude the background knowledge of object size. It turned out that the knowledge of actual size of objects affects the predictive power of Arnheim’s (1974) visual balance theory in the composition with depth. Also, the composition with a large far-object and a small near-object was perceived to be the most balanced and beautiful one. Moreover, there is some possibility of reflecting the level of visual balance of photos by analyzing eye fixations. The research strategy of this study which started with complex stimuli then gradually reduced to simple stimuli offers an alternative method for future aesthetic research. The results of this study can also provide practical suggestions for visual artists. en_US dc.description.tableofcontents 第一章 緒論 1第一節 美與視覺平衡 1第二節 視覺平衡相關研究 4一、黑白畫面的視覺平衡相關研究 4二、色彩畫面的視覺平衡相關研究 7三、深度知覺與現實的審美行為 10第三節 使用簡單實驗材料進行視覺平衡研究的問題 12一、不同實驗程序產生不同研究結果 12二、內在效度不足 13三、外在效度不足 14第四節 眼動與「視覺平衡」的知覺歷程 15一、視覺平衡的眼動研究 15二、凝視點數量與視覺重量 17第五節 背景知識對畫面中物體尺寸的影響 19第六節 本研究想法 22第二章 研究問題與假設 24第三章 實驗一 27第一節 研究設計與工具 27第二節 主觀評分結果分析 29第三節 眼動資料結果分析 31第四章 實驗二 35第一節 研究設計與工具 35一、研究參與者 35二、實驗材料 35三、實驗程序 38第二節 主觀評分結果分析 39一、主觀平衡分數分析 39二、主觀美感分數分析 43第三節 眼動資料結果分析 46第五章 實驗三 48第一節 研究設計與工具 48一、研究參與者 48二、實驗材料 48三、實驗程序 50第二節 主觀評分結果分析 51一、主觀平衡分數分析 51二、主觀美感分數分析 53第三節 眼動資料結果分析 56第六章 綜合討論 58參考文獻 64 zh_TW dc.format.extent 3758080 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0106752002 en_US dc.subject (關鍵詞) 視覺平衡 zh_TW dc.subject (關鍵詞) 眼動 zh_TW dc.subject (關鍵詞) 凝視點 zh_TW dc.subject (關鍵詞) 深度知覺 zh_TW dc.subject (關鍵詞) Visual balance en_US dc.subject (關鍵詞) Eye-movement tracking en_US dc.subject (關鍵詞) Eye fixations en_US dc.subject (關鍵詞) Depth perception en_US dc.title (題名) 從物體實際尺寸對深度空間構圖的影響探討視覺平衡之心理歷程 zh_TW dc.title (題名) Exploring the mental process of visual balance in composition with depth: the effect of actual size of objects en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) Alexander, K. R., & Shansky, M. S. (1976). Influence of hue, value, and chroma on the perceived heaviness of colors. Perception Psychophysics, 19(1), 72-74.Anderson, C. A. (2012). Beauty: First Edition Design Pub.Arnheim, R. (1974). Art and visual perception: Univ of California Press.Banerjee, S., & Evans, B. L. (2007). In-camera automation of photographic composition rules. IEEE Transactions on Image Processing, 16(7), 1807-1820.Bell, C. (1924). Art. 1914. London: Chatto Windus.Berlyne, D. E. (1971). Aesthetics and psychobiology (Vol. 336): Appleton-Century-Crofts New York.Bertamini, M., Bennett, K. M., & Bode, C. (2011). The anterior bias in visual art: The case of images of animals. Laterality: Asymmetries of Body, Brain and Cognition, 16(6), 673-689.Brachmann, A., & Redies, C. (2017). Computational and experimental approaches to visual aesthetics. Frontiers in computational neuroscience, 11, 102.Bradley, S. (2014). Design Principles: Visual Weight And Direction. Retrieved from https://www.smashingmagazine.com/2014/12/design-principles-visual-weight-direction/Brandt, H. F. (1945). The psychology of seeing. Oxford, England: Philosophical Library.Bullough, E. (1907). On the apparent heaviness of colours: a contribution to the aesthetics of colour. British Journal of Psychology, 2(2), 111-152.Carpenter, P. (1971). Art and ideas: An approach to art appreciation.Findlay, J. M., & Gilchrist, I. D. (2003). Active vision: The psychology of looking and seeing: Oxford University Press.Gershoni, S., & Hochstein, S. (2011). Measuring pictorial balance perception at first glance using Japanese calligraphy. i-Perception, 2(6), 508-527.Jacobsen, T. (2006). Bridging the arts and sciences: A framework for the psychology of aesthetics: MIT Press.Jahanian, A., Vishwanathan, S., & Allebach, J. P. (2015). Learning visual balance from large-scale datasets of aesthetically highly rated images. Paper presented at the Human Vision and Electronic Imaging XX.Kodak. (1987). How to Take Good Pictures: A Photo Guide by Kodak: Ballantine Books.Konkle, T., & Oliva, A. (2011). Canonical visual size for real-world objects. Journal of Experimental Psychology: Human Perception and Performance, 37(1), 23.Lévi-Strauss, C. (1966). The savage mind: University of Chicago Press.Lauer, D. A., & Pentak, S. (2011). Design basics: Cengage Learning.Leyssen, M. H., Linsen, S., Sammartino, J., & Palmer, S. E. (2012). Aesthetic preference for spatial composition in multiobject pictures. i-Perception, 3(1), 25-49.Linnett, C. M., Morriss, R. H., Dunlap, W. P., & Fritchie, C. J. (1991). Differences in color balance depending upon mode of comparison. The Journal of general psychology, 118(3), 271-283.Linsen, S., Leyssen, M. H., Sammartino, J., & Palmer, S. E. (2011). Aesthetic preferences in the size of images of real-world objects. Perception, 40(3), 291-298.Locher, P., & Nagy, Y. (1996). Vision spontaneously establishes the percept of pictorial balance. Empirical Studies of the Arts, 14(1), 17-31.Locher, P., Overbeeke, K., & Stappers, P. J. (2005). Spatial balance of color triads in the abstract art of Piet Mondrian. Perception, 34(2), 169-189.Locher, P. J. (2003). An empirical investigation of the visual rightness theory of picture perception. Acta Psychologica, 114(2), 147-164.Locher, P. J., & Nodine, C. F. (1987). Symmetry catches the eye Eye Movements from Physiology to Cognition (pp. 353-361): Elsevier.Locher, P. J., Stappers, P. J., & Overbeeke, K. (1998). The role of balance as an organizing design principle underlying adults` compositional strategies for creating visual displays. Acta Psychologica, 99(2), 141-161.Mack, J. (2007). The art of small things: Harvard University Press.McManus, I., Edmondson, D., & Rodger, J. (1985). Balance in pictures. British Journal of Psychology, 76(3), 311-324.McManus, I., Stöver, K., & Kim, D. (2011). Arnheim`s Gestalt theory of visual balance: Examining the compositional structure of art photographs and abstract images. i-Perception, 2(6), 615-647.McManus, I. C., Cheema, B., & Stoker, J. (1993). The aesthetics of composition: a study of Mondrian. Empirical Studies of the Arts, 11(2), 83-94.Monroe, M. (1925). The apparent weight of color and correlated phenomena. The American Journal of Psychology, 36(2), 192-206.Morriss, R. H., & Dunlap, W. P. (1987). Influence of Value on Spatial Balance of Color Pairs. The Journal of general psychology, 114(4), 353-361.Morriss, R. H., & Dunlap, W. P. (1988a). Influence of chroma and hue on spatial balance of color pairs. Color Research Application, 13(6), 385-388.Morriss, R. H., & Dunlap, W. P. (1988b). Joint effects of chroma and value on spatial balance of color pairs. Empirical Studies of the Arts, 6(2), 117-126.Niekamp, W. (1981). An exploratory investigation into factors affecting visual balance. Educational Technology Research and Development, 29(1), 37-48.Nodine, C. F., Locher, P. J., & Krupinski, E. A. (1993). The role of formal art training on perception and aesthetic judgment of art compositions. Leonardo, 26(3), 219-227.Norman, D. (2004). Introduction to This Special Section on Beauty, Goodness, and Usability. Human-Computer Interaction, 19(4), 311-318. doi:10.1207/s15327051hci1904_1Obrador, P., Schmidt-Hackenberg, L., & Oliver, N. (2010). The role of image composition in image aesthetics. Paper presented at the 2010 IEEE International Conference on Image Processing.Pinkerton, E., & Humphrey, N. K. (1974). The apparent heaviness of colours. Nature, 250(5462), 164.Quian Quiroga, R., & Pedreira, C. (2011). How do we see art: an eye-tracker study. Frontiers in human neuroscience, 5, 98.Ronchi, L. R. (2002). Balancing visual weights. Ophthalmic Physiological Optics, 22(5), 416-419.Ronchi, L. R. (2011). The visual balance between globality and interactions: Lucia Ronchi.Sammartino, J., & Palmer, S. E. (2012). Aesthetic issues in spatial composition: Effects of vertical position and perspective on framing single objects. Journal of Experimental Psychology: Human Perception and Performance, 38(4), 865.Wilson, A., & Chatterjee, A. (2005). The assessment of preference for balance: Introducing a new test. Empirical Studies of the Arts, 23(2), 165-180.林幸蓉. (2014). 幾何圖像的平衡度與偏好度知覺歷程研究. 林幸蓉.梅常青. (2004). 谈摄影构图的特点. 艺术研究: 哈尔滨师范大学艺术学院学报(4), 59-59. zh_TW dc.identifier.doi (DOI) 10.6814/NCCU201901226 en_US
