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| Title: | 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 |
| Authors: | 何崇瑋
Ho, Cong-Wei |
| Contributors: | 黃淑麗
Huang, Shwu-Lih
何崇瑋
Ho, Cong-Wei |
| Keywords: | 視覺平衡
眼動
凝視點
深度知覺
Visual balance
Eye-movement tracking
Eye fixations
Depth perception |
| Date: | 2019 |
| Issue Date: | 2019-11-06 15:27:01 (UTC+8) |
| Abstract: | 「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. |
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| Description: | 碩士
國立政治大學
心理學系
106752002 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0106752002 |
| Data Type: | thesis |
| DOI: | 10.6814/NCCU201901226 |
| Appears in Collections: | [心理學系] 學位論文
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