Aesthetic preference for spatial composition in multiobject pictures

Five experiments examined preferences for horizontal positions in multiobject pictures. In Experiment 1, each picture contained a fixed object and an object whose position could be adjusted to create the most (or least) aesthetically pleasing image. Observers placed the movable object closer to the fixed object when the objects were related than when they were unrelated (a relatedness bias) but almost never overlapped them (a separation bias). Experiment 2 showed that these results were not due to demand characteristics by replicating them almost exactly in a between-participants design. In Experiment 3, preference rankings revealed a strong relatedness bias together with an inward bias toward the spatial envelope of objects to point into the frame. A weak balance effect was evident in a multiple regression analysis. Experiment 4 replicated the inward bias for the spatial envelope using multiobject groups. Experiment 5 generalized the above findings for different objects when observers had to choose between image pairs that differed only in interobject distance or degree of balance. Strong relatedness effects were again present, but there was no evidence of any preference for balance.

[1]  Pieter Jan Stappers,et al.  Factors Contributing to the Implicit Dynamic Quality of Static Abstract Designs , 2002, Perception.

[2]  Stephen E Palmer,et al.  Aesthetic issues in spatial composition: effects of position and direction on framing single objects. , 2008, Spatial vision.

[3]  Pieter Jan Stappers,et al.  The role of balance as an organizing design principle underlying adults' compositional strategies for creating visual displays , 1998 .

[4]  Marco Bertamini,et al.  The anterior bias in visual art: The case of images of animals , 2011, Laterality.

[5]  F. David Martin,et al.  The Power of the Center: A Study of Composition in the Visual Arts , 1983 .

[6]  A. Chatterjee,et al.  The Assessment of Preference for Balance: Introducing a New Test , 2005 .

[7]  Shaul Hochstein,et al.  Measuring pictorial balance perception at first glance using Japanese calligraphy , 2011, i-Perception.

[8]  K Overbeeke,et al.  An empirical evaluation of the visual rightness theory of pictorial composition. , 1999, Acta psychologica.

[9]  E. Bullough,et al.  ON THE APPARENT HEAVINESS OF COLOURS , 1907 .

[10]  I. McManus,et al.  Arnheim's Gestalt theory of visual balance: Examining the compositional structure of art photographs and abstract images , 2011, i-Perception.

[11]  Pieter Jan Stappers,et al.  Spatial Balance of Color Triads in the Abstract Art of Piet Mondrian , 2005, Perception.

[12]  R. Arnheim,et al.  Art and Visual Perception: A Psychology of the Creative Eye. , 1956 .

[13]  Rosalie Asch,et al.  The power of the center : a study of composition in the visual arts , 1983 .

[14]  P. Locher An empirical investigation of the visual rightness theory of picture perception. , 2003, Acta psychologica.

[15]  R. Arnheim Art and Visual Perception, a Psychology of the Creative Eye , 1967 .

[16]  Johan Wagemans,et al.  Artists' Use of Compositional Balance for Creating Visual Displays , 2001 .

[17]  I. McManus,et al.  Balance in pictures , 1985 .

[18]  Stephen E Palmer,et al.  Aesthetic issues in spatial composition: effects of vertical position and perspective on framing single objects. , 2012, Journal of Experimental Psychology: Human Perception and Performance.