We further adjusted the average thickness of each stimulus until they appeared equally different from one another.
From each template, we obtained five different stimuli differing in their average thickness, starting from a logarithmic scale of five thicknesses. Specifically, we obtained two vectorial line templates (‘straight’ and ‘curved’) mimicking the trait and the line ends observed on paper.
#INMR LINE THICKNESS MANUAL#
In a second phase, to have better control over the details and to avoid confounds that might arise by drawing each stimulus individually, we created new line segments in a vector-based software by using the manual sketches as a template. 1926), where the author’s drawings are meant to illustrate perceptual primitives and categories. We specifically sought to mimic Kandinsky’s style as observed in his work Point and Line to Plane (orig. We reasoned that hand drawings would constitute more natural stimuli, therefore closer to perceptual prototypes.
#INMR LINE THICKNESS PROFESSIONAL#
First, line segments were hand-drafted by a professional graphic designer with different techniques (pen, marker, or calligraphy nib), so that thickness variations would arise naturally by variations in hand pressure. The line segments were not produced following a mathematical function, but through the following steps. The experiments reported here complied with the ethical guidelines of the University of Trento. None of the participants had education in visual arts some of them had musical education. In the experiments, the only exclusion criterion was defective colour vision. The information collected on the form concerned nationality (all the subjects were Italian), visual acuity (vision corrected by glasses, with lenses, and normal vision), normal colour vision (tested by Ishihara test), familiarity with colour acquired in work, artistic and educational settings. All the subjects signed an informed consent form. The experiments were also included in the training and professional activities replacing the internship for the students of the three-year degree and the specialization of the Department of Humanities. Participation in the entire cycle was considered equivalent to one of the presentations of the progress of the thesis work. The experiments were also included in the training activities of the undergraduates attending the Thesis Laboratory (LaTe) of the Department of Engineering. The address list of the students was provided by the student office. Īll participants were recruited by e-mail from students in the Department of Engineering, and in the Department of Humanities at the University of Trento, Italy. In visual arts, indeed, we have most of the drawn phenomenology of visual lines, able to contribute to their classification. Artists devoted much effort to defining lines behaviour, until making it their daily obsession, as with Klee. These attributes of visual forms, besides Gestalt psychology, have also been significantly addressed by the realm of art (consider how they appear in Klee’s paintings, Landscape physiognomic, 1931, and Temperaments, 1929). Sharp lines, for example, are associated with aggression. Lines’ appearances are also characterised by expressive and connotative properties, appearing lively or inanimate, rough or smooth, hard or weak, and so on. To obtain a scientific phenomenology of lines, their behaviour must be identified and analysed as such, although often they may appear in the same configuration (for example, lines as such, edge lines, and texture lines in Steinberg’s drawings (p.
These results highlight the specificity of perceptual characteristics for the considered variables and confirm the relevance of the characteristics of variables such as thickness and type.Įach of these appearances plays a specific role in visual organisation. Curved lines are prevalently evaluated as lines, and categorised as organic, rounded, soft, dynamic, fluffy, blunt, free, sweet, sensual, feminine, warm and active. Interestingly, for the variable type, straight lines are evaluated as surfaces more frequently than curved lines and perceived as geometrical, flat, hard, static, rough, sharp, bound, sour, frigid, masculine, cold and passive. The four experiments gave similar results: higher importance of the variables thickness and type general lower significance of the variable colour and general insignificance of the variable orientation. We analysed five variables (thickness, type, orientation, and colour) potentially responsible for the lines’ categorisation. Two experiments were conducted with the method of subjective evaluation of the line segments, and the other two with the Osgood semantic differential.
#INMR LINE THICKNESS SERIES#
The aim of this study is to verify the conditions under which a series of visual stimuli (line segments) will be subjectively perceived as visual lines or surfaces employing four experiments.
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