Viado, Lovely Ann UTA411 Ar. Sheena Lou Bugarin

 VIADO, LOVELY ANN
 UTA411
 AR. SHEENA LOU BUGARIN
 In short: only being able to see with one
eye.
 for example where an eye patch is
applied to help correct a squint, or
permanent. Many children in our schools
have Monocular Vision and many of
them have sufficient functional vision to
cope in school situations and overcome
minor difficulties.
 Ocular abnormalities in one eye only for example
Cataract, Glaucoma.
 A significant refractive error in one eye (long or
short sight).
 An uncorrected squint, leading to a condition
known as amblyopia where the brain ‘switches off’
 the signal from the weaker eye (see separate leaflet).
 In later life, vision may become monocular due to
trauma to the head or direct damage to one
 eye.
 Motion parallax – When an observer moves, the
apparent relative motion of several stationary objects
against a background gives hints about their relative
distance. If information about the direction and
velocity of movement is known, motion parallax can
provide absolute depth information.
 Depth from motion – One form of depth from motion,

kinetic depth perception, is determined by
dynamically changing object size. As objects in
motion become smaller, they appear to recede into
the distance; objects in motion that appear to be
getting larger seem to be coming closer.
 Perspective – The property of parallel lines
converging at infinity allows us to reconstruct
the relative distance of different parts of a
scene, or of landscape features.
 Relative size – If two objects are known to be
the same size (e.g. two trees) but their absolute
size is unknown, relative size cues can provide
information about the relative depth of the two
objects. If one subtends a larger visual angle
on the retina than the other, the object which
subtends the larger visual angle appears
closer.
 Familiar size – Since the visual angle of an
object projected onto the retina decreases
with distance, this information can be
combined with previous knowledge of the
objects size to determine the absolute depth of
the object.
 Aerial perspective – Owing to light scattering
by particles in the atmosphere, objects at a
distance have lower luminance contrast and
lower color saturation. In computer graphics,
this is called "distance fog". The foreground has
high contrast; the background has low
contrast. Objects differing only in their contrast
with a background appear to be at different
depths.[4] The colors of distant objects are also
shifted toward the blue end of the spectrum
(e.g., distance mountains). Some painters,
notably Cézanne, employ "warm" pigments
(red, yellow and orange) to bring features
towards the viewer, and "cool" ones (blue,
violet, and blue-green) to indicate the part of
a form that curves away from the picture
plane.
 Accommodation – This is an oculomotor
cue for depth perception. When we try to
focus on distant objects, the ciliary muscles
relax allowing the eye lens to flatten,
making it thinner. The kinesthetic sensations
of the contracting and relaxing ciliary
muscles (intraocular muscles) is sent to the
visual cortex where it is used for interpreting
distance/depth.
 Occlusion (also referred to as interposition)
– Occlusion (blocking the sight) of objects
by others is also a clue which provides
information about relative distance.
However, this information allows the
observer to assess only relative distance.
 Peripheral vision – At the outer extremes of
the visual field, parallel lines become
curved, as in a photo taken through a fish-
eye lens. This effect, although usually
eliminated from both art and photos by the
cropping or framing of a picture, greatly
enhances the viewer's sense of being
positioned within a real, three-dimensional
space.
 Texture gradient – Suppose you are
standing on a gravel road. The gravel near
you can be clearly seen in terms of shape,
size and colour. As your vision shifts towards
the more distant part of the road it
becomes progressively less easy to
distinguish the texture.
 Munsell color system is a color space
that specifies colors based on three
color dimensions: hue, value
(lightness), and chroma (color purity).
 created by Professor
Albert H. Munsell in
the first decade of
the 20th century and
adopted by the USDA
as the official color
system for soil research
in the 1930
 Several earlier color order systems had
placed colors into a three-dimensional
color solid of one form or another, but
Munsell was the first to separate hue,
value, and chroma into perceptually
uniform and independent dimensions,
and he was the first to systematically
illustrate the colors in three-dimensional
space.

Viado, Lovely Ann UTA411 Ar. Sheena Lou Bugarin

Uploaded by

Copyright:

Available Formats

Viado, Lovely Ann UTA411 Ar. Sheena Lou Bugarin

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Viado, Lovely Ann UTA411 Ar. Sheena Lou Bugarin

Uploaded by

Copyright:

Available Formats

 VIADO, LOVELY ANN

 Depth from motion – One form of depth from motion,

You might also like