What is Perspective?

Perspective as applied to visual representation began life as a medieval artists trick used to convey realism in images. By representing distant objects as proportionally smaller than closer ones and using vanishing points to angle horizontal edges the viewer is given the perception of depth in the image. This artist’s trick was in essence a scientific observation about human perception of the world around them and it was only later that scientists and mathematicians built theories that elucidated this phenomena. Today our understanding of how humans perceive depth is much better understood and it can be broken down into a series of visual cues that our brain processes to give us information about our position in the space around us.

1. Overlap
Objects that are closer to us appear to cover (interpose) objects that are farther away. In the details taken from two Reverspectives on the right we see the foreground objects (ladder, fence) are overlapping the fields and trees in the distance.
2. Relative size
Objects that we are familiar with that are closer to us appear larger than ones that are farther away. In both pictures the trees are smaller than the ladder or gate.
3. Linear Perspective
Parallel lines (edges of objects) appear to converge in the distance. The rails of the fence in the top image.
4. Texture Gradient
Surfaces usually have a visible texture or other repeating pattern. These patterns get smaller and tighter the further they are away from us. The rows of stubble in the top image and the leaves of the trees in the bottom.
5. Shadows
We use shadows and shading to help us understand the shape of objects and their position relative to the light source. In the bottom example we see the ladder casts a shadow on the window frame and wall.
6. Aerial Perspective
Objects that are much farther away seem bluer or foggier than closer ones (like the hills in the distance)
7. Binocular Disparity
Since our eyes are about 6cm apart we see two different images of the world through each eye. The brain uses the differences between these images to give us information about depth and how to coordinate movement in that space. This is the effect used in stereograms to give the illusion of three dimensions.
8. Binocular Convergence
Objects that are close to us (under 3 metres) require the eyes to turn inwards to focus on the object, this effect is used in coordinating movement. Neither of the Binocular cues are apparent to the observer unless they close one eye at a time.
9. Motion parallax
As we move through space objects that closer to us appear to go past us faster than ones in the distance (like when looking out a car window). We use this to help judge the distance to objects and our own movement relative to them.


Back to Reverspective

Patrick Hughes uses all the monocular visual cues In his paintings in a creative and meticulous fashion to fool the user into accepting the plausibility of the scene in front of them. All the edges converge on vanishing points, the texture gradients of the flooring and walls are correct, the shadows reinforce the geometry of the surfaces, objects are in the correct relative order and sizes from front to back. However since this scene is painted on a 3 dimensional surface that exactly reverses the apparent perspective, when we move our eyes in relation to the painting the scene appears to move as if it were real.

This is the effect of motion parallax. For many first time viewers of Reverspective it can be quite disconcerting, as they can get a visceral feeling of accelerated motion or body extension when they move their head in relation to the painting.

Very often viewers are so curious on their first observation of Reverspective that they move or wobble from side to side to accentuate the effect. This is often referred to by those visiting shows with a Hughes Reverspective as the 'Hughes dance'.