Recognition and Perception of Images. Группа авторов

href="#ulink_b803647e-e303-5cf1-a7d0-d9f0bfd7d6e0">Figure 1.2.23 Achromatic pattern that causes subjective color sensations.Figure 1.2.24 Illustration based on dark shades of red and green and color illus...Figure 1.3.1 The combination of “figure-background”.Figure 1.3.2 Dual perception of background – figure combination.Figure 1.3.3 Chaotic pattern.Figure 1.3.4 Gestalt perception of the figure.Figure 1.3.5 Pattern based on clear patterns.Figure 1.3.6 Proximity factor grouping.Figure 1.3.7 Similarity factor grouping.Figure 1.3.8 Grouping on the principle of the same type of communication.Figure 1.3.9 Grouping factor “good continuation”.Figure 1.3.10 “Wedge” migratory birds, the factor of “common destiny”.Figure 1.3.11 Grouping by symmetry factor.Figure 1.3.12 Grouping factor closure.Figure 1.3.13 “Cats and dogs”, the factors of “good continuation” and closure.Figure 1.3.14 Triangle and circle configuration.Figure 1.3.15 Subjective contours.Figure 1.3.16 Necker’s subjective cube.Figure 1.3.17 Strengthening the subjective contour overlapping elements.Figure 1.3.18 The weakening of the subjective central rectangular contour.Figure 1.3.19 Three-dimensional subjective contours.Figure 1.3.20 Perception of forms depending on orientation.Figure 1.3.21 Perception of ambiguous forms.Figure 1.3.22 Recognition of the profile on the background and as a contour.Figure 1.3.23 The task for the Stroop effect.Figure 1.4.1 Flat and three-dimensional interposition of one scene.Figure 1.4.2 Linear perspective.Figure 1.5.1 Sequenced frames of illusion of ‘Hollow mask’ [Website youtube.com,...Figure 1.5.2 Constancy perception of size.Figure 1.5.3 Illusion of the Moon.Figure 1.5.4 The illusion of Muller-Lyer.Figure 1.5.5 Illusion Ponzo.Figure 1.5.6 Illusion of Poggendorf and Zolner.Figure 1.5.7 Horizontal Vertical Wundt Illusion.Figure 1.5.8 Illusion of Ebbingauz and Yastrov’s.Figure 1.5.9 Influence of context on apparent length, Baldwin’s illusion.Figure 1.5.10 Illusions based on contrast tilt.Figure 1.5.11 Fraser’s Illusion.Figure 1.5.12 Illusion of Münsterberg.Figure 1.5.13 Zander parallelogram, AB and AC are equal.

      2 Chapter 2Figure 2.1 Ancient canons: (a) Acropolis. (b) Propylaea of the Acropolis of Athe...Figure 2.2 The proportions of the “Golden section” are the ultimate expression o...Figure 2.3 Benozzo Gozzoli “Procession of the Magi”. A fragment of the painting ...Figure 2.4 Dance movements are recorded in the scheme (the beginning of the twen...Figure 2.5 Surreal modern painting Ettore Aldo Del Vigo, compositional analysis.Figure 2.6 V. I. Barvenko “Alexander and Bucephalus”, hardboard, mixed technique...Figure 2.7 Fragments of the work by V. I. Barvenko “Alexander and Bucephalus”, c...Figure 2.8 Fragments of the work by V. I. Barvenko “Alexander and Bucephalus”, o...Figure 2.9 Analysis and determination of probable forms.Figure 2.10 Fragments of the work by V. I. Barvenko “Alexander and Bucephalus”, ...Figure 2.11 Michelangelo Buanarotti. Architectural design of the tombstone of Po...Figure 2.12 Analysis of architectural public structures. The Colosseum and the F...Figure 2.13 Analysis of landscape scenes of the painting in landscape painting w...Figure 2.14 Compositional schemes-landscape models [landscape website, 2020].Figure 2.15 Piazza del Poppolo. Rome. Italy. Reprint from an antique French orig...Figure 2.16 Analysis of landscape scenes from a reprint of an old French engravi...Figure 2.17 Gem from Giza, II-III centuries.Figure 2.18 (a) a drawing from the London Oriental Manuscript, circa 600, (b) th...Figure 2.19 E. Greco’s “Holy Family”. Compositional analysis.Figure 2.20 “Do Not Weep for Me, Mother” (Mary at the tomb of the Christ. Symbol...Figure 2.21 Yellow-Red-Blue - Wassily Kandinsky. 1925. Oil on canvas 127x200 cm ...Figure 2.22 Associative works of M. Ciurlionis 1903 [ciurlionis website, 2020].

      3 Chapter 3Figure 3.1 Scheme of imaginative thinking.Figure 3.2 Types of imaginative thinking.Figure 3.3 The hierarchy of sensory images.Figure 3.4 Design image based on the symbols.Figure 3.5 Real images are converted to decorative symbols.Figure 3.6 The agglutination method in creation and imagination.Figure 3.7 The image elements of the makeup for Beijing Opera characters.Figure 3.8 The image in the project activities structure.Figure 3.9 An electric