The results are discussed in terms of the importance of the particular type of stimulus used in the learning process and in terms of perceptual learning and attention. Finally, in experiment 6 it was shown that depth edges are learned when the internal depth regions of the stereogram are ambiguous. It was shown in experiment 4 that the depth edges of random-dot stereograms are not learned, whereas the results of experiment 5 indicate that the internal depth regions are learned. In the second set of experiments the learning of two binocular surface properties of random-dot stereograms, depth edges and internal depth regions, was investigated. This result indicates that the traditional belief that random-dot stereograms are devoid of monocularly recognizable or useful forms should be reconsidered. In experiments 2 and 3 evidence was obtained that suggests that observers can learn, to a certain degree, monocular random-dot patterns and that this learning facilitates the depth percept. In experiment 1 the retinal position-specific learning effect was reproduced and in a follow-up experiment it was shown that the position specificity of learning can be accounted for by selective visual attention. In the present study some specific properties of the learning effects reported for random-dot stereograms are examined. By comparing to the work of others I am able to not only analyse which methods work effectively.ġ. In researching the history of visual crytpographic methods and looking at methods used by other designers to hide and reveal messages offered several alternatives to hide the message I wanted to among my design. By being able to read the hidden word at some distances but not others will engage the audience.Īnon, n.d. Optical illusions such as the image below, which revels something different at different distances is something I wanted to consider with my design. However the shapes used are not arbitary, they represent the changing shape of London throughout history. Initially with the new design for the Museum of London the audience is likely to only appreciate the colour and flowing form. It is a way of engaging with the audience, providing stimulation and a reward for their effort.Īguad, S., 2009. Many graphic designers also experiment with hiding hidden messages in their logo design. What you are looking for hidden in plain sight. John Locke and Jackie Caradonio were experimenting with hiding text with the following image from their studio, Lioninoil. Here only those not suffering from red-green colourblindness will be able to see the M on the elephants back. The thrill of uncovering a secret message is engaging for the audience and this was something I wished to carry through into my design project.ĭeveloped by Professor Shinobu Ishihara the pseudoisochromatic colour blind test is utilised on this elephant in Antwerp.

People are always fascinated with hidden messages, designers alike. Ī simpler method which many will be familiar with is that to place a red filter over the hidden image. This invites the viewer to interact with the box. This method has been utilised by Kai Jauslin in their ‘Visuelle Kryptographie” project, where the image is only recognisable when the box is in the correct position. As this is not the natural focus position for the eye, the viewer will not see the image until they have managed to complete this process.Īnon., n.d. To reveal these single-image stereograms the viewer must train their eyes to focus beyond the image, creating a parallel viewpoint opposed to one focussed on the page. Unfortunately those without stereo vision will be unable to decipher the image as it relies on the information from the two alternative viewpoints. Until you master the process of deciphering the stereogram within your brain you be unable to see the 3D image. This formed the basis for the Magic Eye phenomena. 1 In 1979 Christopher Tyler created the first single-image random-dot stereogram allowing the brain to see 3D shapes from 2D images. Beginning with a discovery by Bela Julesz alongside MacArthur Fellow in 1959 first highlighting the possibility that depth perception was a neurological process not something occurring within the eye itself as previously considered. After considering the possibility of hiding messages amongst the designs I have been creating, forming an amalgamation between type and geometry, I chose to research into the field of visual cryptography.įorming images which can only be viewing in a certain manner is not a new technique. As many of you may remember the Magic Eye books, first appearing twenty years ago, where an image was only revealed if the reader were able to facilitate the parallel viewing technique.

Reveal stereogram