In the Great Pyramid of Giza illusion, when viewing the Great Pyramid from above, the illusion can occur where, the pyramid can appear to be a hollow column or tower, rather than a solid pyramid.
The first view is from directly above the Great Pyramid of Giza. The second from another pyramid shape which, when viewed from the side, can appear like a hollow column.
This illusion occurs when a concave or inwardly curved object, such as a mask or a pyramid, is viewed from a certain angle, causing the brain to interpret it as a convex or outwardly curved object.
In the case of a pyramid, this illusion can occur when the pyramid is viewed from a certain angle that makes the base of the pyramid appear smaller than the top. When viewed from this angle, the pyramid can appear to be a hollow column or tower, rather than a solid pyramid.
How does the Pyramid of Giza Illusion Work?
The pyramid of Giza Illusion works in a similar way to the traditional hollow-face illusion, where a concave or inwardly curved object, such as a mask or a pyramid, appears to be convex or outwardly curved when viewed from a certain angle.
In the case of the pyramid illusion, when the pyramid is viewed from a certain angle that makes the base of the pyramid appear smaller than the top, the brain perceives the pyramid as being a hollow column or tower instead of a solid pyramid. This occurs because the brain is interpreting the pyramid based on the visual cues and perspective it is receiving.
When viewing the pyramid from this angle, the brain assumes that the lines of the pyramid converge to form the apex, as would be the case with a solid pyramid. However, since the base appears smaller than the top, the brain interprets this as the pyramid being hollow, as if it were an open column or tower.
This illusion is a good example of how our brain relies on visual cues and context to interpret the world around us, and how our perception can be influenced by the angle and perspective from which we view an object.
Discovery of the Pyramid of Giza Illusion
No one specific person who discovered the pyramid of Giza illusion, but it’s extremely similar to the hollow faced illusion which was first described by the psychologist James J. Gibson in the 1930s. He was one of the first scientists to study the phenomenon and provide a detailed description of the illusion and its underlying mechanisms. In his work, Gibson emphasized the importance of the visual information that the eyes receive from the environment in shaping our perception of the world, and he suggested that the hollow face illusion was an example of how the brain uses this information to construct a 3D representation of the world.
Gibson’s work on the hollow face illusion was influential in the development of the ecological theory of perception, which argues that perception is not solely determined by the properties of objects themselves, but is also shaped by the context in which they are encountered and the information available in the environment. His contributions to the study of the hollow face illusion and the broader field of perception and cognitive psychology continue to be widely recognized and referenced in the field today.
Pyramid of Giza Illusion – The Hollow Faced Illusion
The hollow face illusion is a type of optical illusion where a concave mask appears as if it is a convex object.
When a person views a hollow mask from the front, the features on the surface of the mask appear to be bulging out, even though they are actually recessed.
This illusion is created by the brain’s interpretation of the visual information it receives from the eyes. The brain uses previous experiences and knowledge to make assumptions about the shape and position of objects in a scene, and in the case of the hollow face illusion, these assumptions lead to a misinterpretation of the actual shape of the mask.
Hollow Faced Illusion From Wikimedia Commons
Pyramid of Giza Illusion – Similar to the Crater Illusion
The Pryamid of Giza illusion is also similar to the Crater Illusion. The crater illusion is an optical illusion that occurs when looking at a flat image of a crater on a two-dimensional surface, such as a photograph or drawing. The illusion creates the impression that the crater is a raised, three-dimensional object with a convex shape, when in fact it is a depressed area.
This illusion is created due to the way our brains interpret light and shadow on the image of the crater. The brain perceives the light areas on the edge of the crater as raised, while the dark areas in the center of the crater are interpreted as shadows. This creates the impression that the crater is a raised object with a convex shape, rather than a depressed area.
The crater illusion is an interesting example of how our brains use visual cues and information to interpret the world around us, and how these interpretations can sometimes be misleading or incorrect. It is also a reminder of the limitations of our senses and our need to be mindful of the ways in which our perceptions can be influenced by external factors.
The Mona Lisa Illusion is an optical illusion that occurs when viewing an image of a person’s face. It is named after the famous painting by Leonardo da Vinci, the Mona Lisa, which is known for its enigmatic smile.
The illusion occurs when a viewer looks directly at the eyes of a person in an image, but perceives the mouth as smiling or frowning. This happens because the viewer’s peripheral vision picks up on the subtle upward or downward turn of the lips, while the eyes remain fixed in the center of the image.
The Mona Lisa illusion is a type of perceptual ambiguity, where the brain has to choose between competing interpretations of the same image. It is a common example of how the brain makes assumptions and fills in missing information based on context and prior knowledge.
The Mona Lisa illusion works because the human visual system processes information in different ways, and different parts of the brain are responsible for interpreting different visual features.
When we look at an image, our eyes focus on a small area in the center of the image, which is called the fovea. The fovea has the highest density of photoreceptor cells, which allow us to see fine details and colors.
However, our peripheral vision, which covers the area surrounding the fovea, is less sensitive to details and colors. Instead, it is better at detecting overall shapes, movements, and contrasts.
In the case of the Mona Lisa illusion, the eyes are drawn to the eyes of the subject in the image, which is the most detailed and complex part of the face. The mouth, on the other hand, is less detailed and less well-defined in the painting.
When we look directly at the eyes, our brain processes the visual information from the fovea, which sees the mouth as a blurry and ambiguous shape. However, our peripheral vision picks up on the subtle shadows and contours around the corners of the mouth, which can be interpreted as a smile or a frown.
Since the brain is constantly trying to make sense of the visual information it receives, it makes assumptions based on context and prior knowledge. In the case of the Mona Lisa, the enigmatic expression of the subject, combined with the ambiguity of the mouth, creates a perceptual puzzle that the brain tries to solve. This results in the Mona Lisa illusion, where different viewers may perceive different emotions in the same painting.
Famous Artists who Also Use Anamorphosis in Their Art
Anamorphosis is a form of optical illusion in which an image appears distorted when viewed from a certain perspective and can only be seen in its proper form when viewed from a specific angle or using a mirror or special lens. The word “anamorphosis” comes from the Greek words “ana,” meaning “again,” and “morphe,” meaning “form.”
Anamorphosis was used extensively in the Renaissance and Baroque periods as a way of creating intriguing and often thought-provoking images. Artists would paint anamorphic images on a flat surface and then place a mirror at a specific angle in order to create the illusion of a three-dimensional image. The technique was also used to create hidden images that could only be seen from specific perspectives.
In recent years, anamorphosis has been used in a variety of modern art forms, including street art and advertising. In these contexts, anamorphic images are often used to create eye-catching and attention-grabbing displays that appear to change shape as the viewer moves around them.
Anamorphosis is a fascinating and versatile technique that demonstrates the interplay between art and science, and highlights the importance of perception and the role that context and perspective play in shaping our interpretation of the world.
Anamorphosis has been used by various artists throughout history, including some of the most famous and influential artists of their time. Here are a few notable artists who have used anamorphosis in their work:
Leonardo da Vinci: Da Vinci was one of the earliest artists to experiment with anamorphosis and is widely regarded as one of the pioneers of the technique. He used anamorphosis in his sketches and drawings to represent three-dimensional objects on two-dimensional surfaces.
Hans Holbein the Younger: Holbein was a German artist who lived in the 16th century and was known for his portraits, paintings, and drawings. He used anamorphosis in his portraits to create striking and unusual effects, and many of his anamorphic paintings are still regarded as some of the finest examples of the technique.
René Magritte: Magritte was a Belgian surrealist artist who was known for his paintings, illustrations, and collages. He used anamorphosis in his paintings to create illusions and to challenge the viewer’s perception of reality.
M. C. Escher: Escher was a Dutch graphic artist who is widely regarded as one of the greatest artists of the 20th century. He used anamorphosis in his prints, lithographs, and drawings to create impossible objects and to challenge the viewer’s perception of space and time.
These are just a few of the many artists who have used anamorphosis in their work, and there are many other artists who have also explored this fascinating technique. Overall, anamorphosis is a powerful tool for artists to create striking and unusual effects, to challenge the viewer’s perception, and to demonstrate the interplay between art and science.
Illusions like The Mona Lisa Illusion
The Mona Lisa illusion is a type of visual illusion known as a “perceptual ambiguity” or “ambiguous image” illusion. This means that the image can be interpreted in more than one way, and the brain has to choose between competing interpretations.
In the case of the Mona Lisa, the ambiguity arises because the mouth of the subject is not clearly defined, and the shadows and contours around the corners of the mouth can be interpreted as either a smile or a frown. Different viewers may perceive different emotions in the same painting, depending on their individual interpretation and prior knowledge.
Perceptual ambiguity illusions are fascinating because they demonstrate how the brain makes assumptions and fills in missing information based on context and prior knowledge. They highlight the complex processes that occur in the visual system when we perceive the world around us, and they challenge our assumptions about what is real and what is illusory.
Some similar illusions are as follows:
Trompe-l’œil is a French term that means “trick the eye.”
It refers to a style of art that uses realistic depictions of three-dimensional objects to create the illusion of depth and a life-like appearance.
Trompe-l’œil paintings and murals are often used to create the illusion of an extended space or to make a room appear larger than it actually is.
Trompe-L’œil
“The Ambassadors” is a painting by the German Renaissance artist Hans Holbein the Younger, completed in 1533. The painting depicts two ambassadors, Jean de Dinteville and Georges de Selve, who were sent by King Francis I of France to the court of Henry VIII of England.
The painting is known for its complex composition and the many visual elements that are incorporated into the design. The two ambassadors are depicted in a room that is filled with rich details, including a carpet, a table with books and instruments, a lute, and a crucifix. The floor is tiled with a detailed geometric pattern, and the walls are covered with shelves of books and other objects.
One of the most striking aspects of “The Ambassadors” is the distorted skull that is placed in the foreground of the image. This skull, which is painted in a striking trompe l’oeil style, has become one of the most famous elements of the painting and has been interpreted in a variety of ways over the years. Some have interpreted the skull as a symbol of death and the transience of life, while others have seen it as a reference to the memento mori tradition in Renaissance art.
The Ambassadors by Holbein
Anamorphosis is a technique in art and optics that involves creating an image that appears distorted or irregular when viewed from one perspective, but appears normal or regular when viewed from another perspective or with the use of a specialized tool, such as a mirror or a cylindrical lens.
Anamorphosis
The hollow face illusion is a type of optical illusion where a concave mask appears as if it is a convex object.
When a person views a hollow mask from the front, the features on the surface of the mask appear to be bulging out, even though they are actually recessed.
This illusion is created by the brain’s interpretation of the visual information it receives from the eyes. The brain uses previous experiences and knowledge to make assumptions about the shape and position of objects in a scene, and in the case of the hollow face illusion, these assumptions lead to a misinterpretation of the actual shape of the mask.
Hollow Faced Illusion From Wikimedia Commons
The Thatcher effect is a visual illusion in which it becomes difficult for the brain to perceive the deformities in an upside-down face. The effect was named after Margaret Thatcher, the former British Prime Minister, who was used as an example in early studies of the phenomenon.
When the face is upright, the brain processes its features holistically, taking into account the spatial relationship between the eyes, nose, mouth, and other facial features. However, when the face is inverted, the brain has to process the features separately, which can make it difficult to detect subtle changes in the features. In other words, the brain has difficulty recognizing that the features are upside down, and as a result, it fails to detect abnormalities.
The Thatcher effect illusion is often used by researchers to study how the brain processes faces and other visual stimuli. It is also used in psychology to study how the brain perceives and interprets visual information, including the processing of emotional expressions.
Thatcher Effect Illusion
Artwork by MC Escher. M.C. Escher is widely known for his mathematically inspired and often impossible constructions, and his works are characterized by their playfulness, intricate details, and optical illusions. Some of his most famous works include:
“Relativity” – A lithograph that depicts a world where gravity and direction are relative and interchangeable.
“Waterfall” – A woodcut print that features a seemingly impossible flow of water that cascades upward and through a gear system before falling back down into a pool.
“Sky and Water I” – A woodcut print that features an intricate pattern of birds and fish that seem to transform into each other.
“Day and Night” – A woodcut print that features a world where the boundary between day and night is fluid and interchangeable.
“Metamorphosis III” – A lithograph that features a series of interlocking shapes that seem to change and transform into one another.
“Hands Drawing Hands” – A lithograph that features a series of hands drawing hands, creating a never-ending cycle of creation.
These works, and many others by Escher, continue to captivate and inspire audiences with their intricate details, playful illusions, and mathematical elegance.
Forced perspective is a technique used in photography, architecture, and other visual arts to manipulate the perception of the size and distance of objects.
It creates the illusion of a larger or smaller object, or of one that is closer or farther away, by carefully controlling the angles, proportions, and placement of objects in the scene.
Forced Perspective
The Ponzo illusion is a type of visual illusion in which a pair of parallel lines, or a horizontal bar, appear to be of different lengths based on the presence of a converging or diverging set of lines, often resembling the converging parallel lines of a road or railway track, placed above and below them.
The Ponzo Illusion
The Ebbinghaus illusion: This illusion is similar to the Delboeuf illusion but in this case the central circle appears larger when surrounded by smaller circles and smaller when surrounded by larger circles.
The Delboeuf illusion is a perceptual illusion in which the perceived size of a circle is affected by the size of the surrounding circles.
The Occlusion illusion is a visual illusion where an object that is partially obscured by another object appears to be farther away than it actually is. This illusion is caused by the brain’s interpretation of the relative depth of the objects based on their relative size and position. This phenomenon is based on the visual cues that the brain uses to perceive depth, such as relative size, position, and overlap.
The Müller-Lyer illusion is a classic example of size-contrast illusion, in which two lines of equal length appear to be different due to the presence of arrowheads or fins at the end of the lines.
The moon illusions involves the perception of the Moon appearing larger when it is near the horizon compared to when it is high in the sky.
The Kanizsa triangle is a visual illusion that was first described by the Italian psychologist Gaetano Kanizsa in 1955. The illusion consists of a white equilateral triangle that appears to be surrounded by three Pac-Man-like shapes, which are black and have white crescents facing inwards.
Creation of The Mona Lisa Illusion
The Mona Lisa is a portrait painting by the Italian Renaissance artist Leonardo da Vinci. It is also known as La Gioconda or La Joconde in French. The painting is widely considered one of the most famous and enigmatic works of art in the world.
The painting depicts a woman, believed to be Lisa Gherardini, the wife of a Florentine merchant, sitting in front of a rocky landscape with a winding road and a bridge over a river in the background. She is shown with her hands folded in her lap and looking directly out at the viewer with a faint smile on her lips. Her gaze is intense and enigmatic, and the painting has been the subject of much speculation and interpretation over the centuries.
Leonardo da Vinci began painting the Mona Lisa in 1503, and it is believed to have taken him several years to complete. The painting is an oil on poplar wood panel and measures 77 x 53 cm (30 x 21 inches).
Leonardo was known for his meticulous attention to detail and his use of sfumato, a technique of blending colors and tones to create soft, hazy edges and a sense of depth and atmosphere. He also used a technique called chiaroscuro, which uses contrasts of light and dark to create a three-dimensional effect.
The Mona Lisa was not widely known or appreciated during Leonardo’s lifetime, but it gained popularity in the 19th century and has since become one of the most famous and iconic paintings in the world. It is now housed in the Louvre Museum in Paris, France, where it is viewed by millions of visitors each year.
Leonardo da Vinci was an Italian artist, scientist, inventor, and polymath who lived during the Renaissance period. He was born on April 15, 1452, in the town of Vinci, near Florence, Italy, and died on May 2, 1519, in Amboise, France.
Leonardo is widely considered one of the most important and influential figures in the history of art and science. He was a master of many different disciplines, including painting, sculpture, architecture, engineering, anatomy, mathematics, and astronomy.
As an artist, Leonardo is known for his meticulous attention to detail, his use of light and shadow, and his ability to capture the complexity and subtlety of human emotions. His most famous works include the Mona Lisa and The Last Supper, both of which are considered masterpieces of Renaissance art.
In addition to his artistic achievements, Leonardo also made important contributions to science and technology. He conducted pioneering studies of human anatomy, designed flying machines and submarines, and made advances in the fields of optics, mechanics, and hydrodynamics.
Leonardo’s work continues to inspire and influence artists and scientists to this day, and he remains one of the most celebrated and revered figures in human history.
The Thatcher effect is a visual illusion in which it becomes difficult for the brain to perceive the deformities in an upside-down face. The effect was named after Margaret Thatcher, the former British Prime Minister, who was used as an example in early studies of the phenomenon.
When the face is upright, the brain processes its features holistically, taking into account the spatial relationship between the eyes, nose, mouth, and other facial features. However, when the face is inverted, the brain has to process the features separately, which can make it difficult to detect subtle changes in the features. In other words, the brain has difficulty recognizing that the features are upside down, and as a result, it fails to detect abnormalities.
The Thatcher effect illusion is often used by researchers to study how the brain processes faces and other visual stimuli. It is also used in psychology to study how the brain perceives and interprets visual information, including the processing of emotional expressions.
The Thatcher effect works by exploiting the way our brains process faces. When we see an upright face, our brain processes its features holistically, taking into account the spatial relationship between the eyes, nose, mouth, and other facial features. This allows us to quickly recognize and distinguish between different faces.
However, when the face is inverted, the brain has to process the features separately. This makes it more difficult for the brain to detect subtle changes in the features. The Thatcher effect takes advantage of this by presenting an upside-down face with distorted features, such as an inverted mouth or eyes. When the face is turned right-side up, the brain has difficulty detecting the distorted features and may even perceive the face as normal.
The Thatcher effect is thought to occur because our brains have evolved to process upright faces quickly and efficiently. This processing is largely unconscious, meaning we are not aware of the individual steps involved. However, when a face is presented upside down, the brain has to work harder to process the features separately, and this can lead to perceptual errors.
Overall, the Thatcher effect is an example of how our brains make assumptions and shortcuts to quickly process visual information, and how these assumptions can be exploited to create visual illusions.
Versions of the Thatcher Effect Illusion
The following is the original version of the Thatcher Effect Illusion
Thatcher September 1983
Illusions like the Thatcher Effect Illusion
The Thatcher effect is a visual illusion that affects our perception of faces. Specifically, it is a type of face recognition illusion. Face recognition illusions occur when our brain’s normal process of recognizing faces is disrupted in some way, leading to errors or distortions in our perception of faces.
In the case of the Thatcher effect, the illusion occurs because the brain has difficulty processing distorted facial features when the face is presented upside down. This can lead to the perception that the face is normal, even though certain features are distorted.
The Thatcher effect is an example of how our brains can make assumptions and shortcuts when processing visual information, which can lead to perceptual errors and illusions. Understanding how illusions like the Thatcher effect work can provide insight into how our brains process visual information, and can help us develop a deeper understanding of perception and cognition.
Some related illusions include the following:
The hollow face illusion is a type of optical illusion where a concave mask appears as if it is a convex object.
When a person views a hollow mask from the front, the features on the surface of the mask appear to be bulging out, even though they are actually recessed.
This illusion is created by the brain’s interpretation of the visual information it receives from the eyes. The brain uses previous experiences and knowledge to make assumptions about the shape and position of objects in a scene, and in the case of the hollow face illusion, these assumptions lead to a misinterpretation of the actual shape of the mask.
Multistable perception refers to the phenomenon in which an ambiguous stimulus can be perceived in multiple, equally valid ways, and one’s perception of the stimulus can switch spontaneously or be influenced by various factors. This is also known as perceptual rivalry, as the brain seems to alternate between different possible interpretations of the stimulus.
One classic example of multistable perception is the Necker Cube, which is a wireframe cube that can be perceived as facing in one of two possible orientations, even though the physical stimulus remains the same. Another example is the Rubin vase, which can be perceived as either a vase or as two faces in profile, depending on which part of the image is given more weight by the brain.
Multistable perception is often studied in the field of psychology and neuroscience, as it can provide insights into the workings of the brain’s visual processing systems and the mechanisms of attention and perception.
Multistable Perception
Penrose figures are impossible objects that were first described by the mathematician and philosopher Roger Penrose in the 1950s.
They are optical illusions that depict objects that appear to violate the laws of three-dimensional geometry. Penrose figures are typically drawn or represented as two-dimensional images, but they create the illusion of a three-dimensional object that cannot actually exist in the real world.
Some common examples of Penrose figures include the Penrose triangle, which appears to have vertices that join in impossible ways, and the Penrose stair, which appears to be a staircase that goes on forever, with the steps constantly descending and yet never reaching the bottom.
These figures challenge our perception of the world and have been used in art, architecture, and psychology to study the workings of the human mind and the limits of human perception.
Penrose Shapes
The Penrose stairs, also known as the impossible staircase or the Penrose steps, is a visual illusion in the form of an impossible object created by the mathematician and physicist Roger Penrose.
The illusion is a two-dimensional representation of a staircase that appears to ascend or descend indefinitely, yet is physically impossible to climb or descend because the steps are not connected in a logical manner.
It is often used as an example of the type of optical illusion that can occur in the human brain and is used in cognitive psychology to study perception and attention.
The Penrose Staircase Illusion
The Penrose triangle, also known as the Penrose tribar, is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The Rubin vase, also known as the Rubin face or the figure-ground vase, is a famous optical illusion in which the image of a vase can also be perceived as two faces in profile looking at each other.
The duck-rabbit illusion is an optical illusion that is an image that can be perceived as either a duck or a rabbit depending on how the viewer looks at it.
The impossible cube is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The spinning dancer illusion is a visual illusion that depicts a silhouette of a dancer spinning clockwise or counterclockwise. The direction of the dancer’s spin can appear to change depending on the viewer’s perception
The Shepard elephant illusion is an optical illusion that was created by the artist David H. Shepard. The illusion is a black-and-white line drawing of an elephant that appears to be three-dimensional and in motion, despite being a flat, static image.
The illusion is created by using a technique called “anamorphosis,” which involves distorting an image in a specific way so that when it is viewed from a certain angle or perspective, it appears to be in a different form or shape.
Discovery of The Thatcher Effect Illusion
The Thatcher effect was first described and studied by two psychologists, Peter Thompson and Robert Thornton, in 1980. They conducted a series of experiments to investigate how the brain processes faces, and discovered the effect while studying the processing of facial expressions. They named the effect after Margaret Thatcher, the former British Prime Minister, who was used as an example in their initial studies.
The Thatcher effect has since become a well-known example of a face recognition illusion and has been studied extensively by cognitive psychologists and neuroscientists. The effect has also been used in popular culture, appearing in TV shows, movies, and advertising campaigns as a way to create visual illusions and draw attention to the intricacies of the brain’s visual processing system.
Multistable perception refers to the phenomenon in which an ambiguous stimulus can be perceived in multiple, equally valid ways, and one’s perception of the stimulus can switch spontaneously or be influenced by various factors. This is also known as perceptual rivalry, as the brain seems to alternate between different possible interpretations of the stimulus.
One classic example of multistable perception is the Necker Cube, which is a wireframe cube that can be perceived as facing in one of two possible orientations, even though the physical stimulus remains the same. Another example is the Rubin vase, which can be perceived as either a vase or as two faces in profile, depending on which part of the image is given more weight by the brain.
Multistable perception is often studied in the field of psychology and neuroscience, as it can provide insights into the workings of the brain’s visual processing systems and the mechanisms of attention and perception.
Multistable perception occurs when the brain is presented with an ambiguous or conflicting stimulus that can be interpreted in different ways. The brain’s visual processing systems are constantly trying to make sense of the incoming sensory information and generate a coherent perception of the world, but when there are multiple possible interpretations of the stimulus, the brain can become stuck in a state of ambiguity.
This ambiguity is thought to arise from competition between different neural populations that represent the possible interpretations of the stimulus. Each interpretation may be represented by a network of neurons that are mutually inhibitory, meaning that the activity of one population suppresses the activity of the others. When the stimulus is ambiguous, the activity of these populations can fluctuate, leading to spontaneous switches between the different interpretations of the stimulus.
In addition to these spontaneous fluctuations, multistable perception can also be influenced by various factors such as attention, context, and expectation. For example, if someone is asked to focus their attention on one particular aspect of the stimulus, this may bias their perception towards one interpretation over another.
Overall, multistable perception is a complex phenomenon that involves competition between different neural populations and can be influenced by various top-down and bottom-up factors. Its study can provide valuable insights into the workings of the brain’s visual processing systems and the mechanisms of attention and perception.
Versions of the Multistable Perception
The following are some alternate versions of Multistable Perception:
Illusions like Multistable Perception
There are many examples of multistable perception, some of which include:
Necker Cube: A wireframe cube that can be perceived as facing in one of two possible orientations, even though the physical stimulus remains the same.
Rubin’s vase: An image that can be perceived as either a vase or as two faces in profile, depending on which part of the image is given more weight by the brain.
Bistable motion: A moving stimulus that can be perceived as either moving back and forth or rotating clockwise and counterclockwise.
The spinning dancer: An image of a spinning dancer that can be perceived as spinning in either a clockwise or counterclockwise direction.
Reversible figures: Figures that can be perceived in two different orientations, such as the duck-rabbit or the old-young woman.
The hollow mask illusion: A mask that appears to be concave even though it is physically convex, due to the brain’s interpretation of shading and depth cues.
These examples demonstrate how the brain can generate multiple, equally valid interpretations of an ambiguous stimulus, and how these interpretations can switch spontaneously or be influenced by various factors.
Some related illusions include the following:
Penrose figures are impossible objects that were first described by the mathematician and philosopher Roger Penrose in the 1950s.
They are optical illusions that depict objects that appear to violate the laws of three-dimensional geometry. Penrose figures are typically drawn or represented as two-dimensional images, but they create the illusion of a three-dimensional object that cannot actually exist in the real world.
Some common examples of Penrose figures include the Penrose triangle, which appears to have vertices that join in impossible ways, and the Penrose stair, which appears to be a staircase that goes on forever, with the steps constantly descending and yet never reaching the bottom.
These figures challenge our perception of the world and have been used in art, architecture, and psychology to study the workings of the human mind and the limits of human perception.
Penrose Shapes
The Penrose stairs, also known as the impossible staircase or the Penrose steps, is a visual illusion in the form of an impossible object created by the mathematician and physicist Roger Penrose.
The illusion is a two-dimensional representation of a staircase that appears to ascend or descend indefinitely, yet is physically impossible to climb or descend because the steps are not connected in a logical manner.
It is often used as an example of the type of optical illusion that can occur in the human brain and is used in cognitive psychology to study perception and attention.
The Penrose Staircase Illusion
The Penrose triangle, also known as the Penrose tribar, is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The Rubin vase, also known as the Rubin face or the figure-ground vase, is a famous optical illusion in which the image of a vase can also be perceived as two faces in profile looking at each other.
The duck-rabbit illusion is an optical illusion that is an image that can be perceived as either a duck or a rabbit depending on how the viewer looks at it.
The Necker cube is an optical illusion that features a simple wireframe drawing of a cube. The cube appears to switch back and forth between two different orientations.
The My Wife and My Mother-in-Law illusion is an optical illusion with an image of a young woman’s face that can also be perceived as an older woman’s face.
The Schröder Staircase is an optical illusion that features a drawing of a staircase. The staircase appears to be either ascending or descending, depending on how the brain interprets the angles of the lines.
From Wikimedia Commons
The impossible cube is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The impossible trident is a three-pronged impossible shape resembling a trident. It is usually depicted as a three-pronged fork with each prong appearing to be a continuation of the next, creating an impossible shape.
From Wikimedia Commons
The spinning dancer illusion is a visual illusion that depicts a silhouette of a dancer spinning clockwise or counterclockwise. The direction of the dancer’s spin can appear to change depending on the viewer’s perception
The Shepard elephant illusion is an optical illusion that was created by the artist David H. Shepard. The illusion is a black-and-white line drawing of an elephant that appears to be three-dimensional and in motion, despite being a flat, static image.
The illusion is created by using a technique called “anamorphosis,” which involves distorting an image in a specific way so that when it is viewed from a certain angle or perspective, it appears to be in a different form or shape.
Discovery of Multistable Perception
The phenomenon of multistable perception has been observed and studied by many researchers over the years, and it is not typically attributed to a single individual or discovery.
However, one early researcher who is often credited with pioneering the study of multistable perception is the Dutch psychologist Adriaan de Groot. In the 1940s, de Groot conducted a series of experiments on ambiguous figures, including the Necker Cube, and described how these figures could be perceived in multiple, equally valid ways. He also proposed a model for how the brain processes these ambiguous stimuli, which involved competition between different neural representations.
Other researchers who have contributed to the study of multistable perception include the American psychologist Roger Shepard, who introduced the concept of “perceptual switching” in the 1950s, and the British psychologist Colin Blakemore, who studied the neural mechanisms underlying bistable perception in the 1970s.
Overall, multistable perception is a complex and multifaceted phenomenon that has been studied by many researchers across different fields of psychology and neuroscience.
Adriaan de Groot and Multistable Perception
Adriaan de Groot (1914-2006) was a Dutch psychologist who is known for his contributions to the study of cognitive psychology, particularly in the area of human problem-solving and perception.
De Groot received his PhD in psychology from the University of Amsterdam in 1946, and went on to become a professor of psychology at the same university. He conducted influential research on topics such as chess expertise, problem-solving strategies, and perception, and was a pioneer in the use of think-aloud protocols to study cognitive processes.
One of de Groot’s most famous contributions to psychology was his study of chess expertise. In the 1960s, he conducted a series of experiments in which he asked expert and novice chess players to think aloud while they solved chess problems. He found that expert players were able to recognize and remember chess patterns more quickly and accurately than novices, and that their superior performance was due in part to their ability to chunk information into meaningful units.
De Groot also conducted influential research on perception, including his work on ambiguous figures such as the Necker Cube. He proposed a model of perception that involved competition between different neural representations of a stimulus, which could lead to multistable perception and perceptual switching.
Overall, de Groot was a pioneering figure in the field of cognitive psychology, and his work has had a lasting impact on our understanding of human cognition and perception.
The Penroses and Multistable Perception
One of the more famous Multistable Perception illusions, the Penrose stairs, was first created by the British mathematician and physicist Roger Penrose and his father Lionel Penrose, a psychiatrist and mathematician, in the 1950s.
Sir Roger Penrose is a renowned British mathematical physicist and Nobel laureate. He was born in 1931 and is still active today. He is known for his work in the fields of cosmology, general relativity, and quantum mechanics. He was awarded the Nobel Prize in Physics in 2020, jointly with Reinhard Genzel and Andrea Ghez, for his contributions to the understanding of the properties of black holes.
Penrose’s research has focused on the fundamental nature of space and time and the structure of the universe, he proposed new ways of understanding the Big Bang, black holes, and the nature of the universe itself. He has also been interested in the connection between physics and mathematics, particularly in the area of geometry. Penrose has written several books on these topics, which have been widely read and discussed by both scientists and the general public.
Penrose is also known for his work on the concept of “cosmic censorship” which is a theory that states that the singularities that occur in black holes are always hidden from the outside observer. He also developed new mathematical techniques, such as the Penrose diagram, which are used to describe the behavior of black holes and other singularities. Penrose is considered one of the most influential theoretical physicist of the 20th century and his work has had a significant impact on our understanding of the universe.
Figure-ground ambigrams are words or phrases that can be read in more than one way, depending on how you interpret the foreground and background of the design. The term “figure-ground” refers to the concept in visual perception where our minds separate objects from their backgrounds.
In figure-ground ambigrams, the same word or phrase can be read in different ways, depending on which part of the design is interpreted as the “figure” (the foreground) and which is interpreted as the “ground” (the background). For example, an ambigram that spells “sun” in one orientation and “moon” in another, or “up” in one orientation and “down” in another, is a type of figure-ground ambigram.
Creating figure-ground ambigrams can be a challenging and creative exercise, requiring the designer to carefully balance the positive and negative space in the design and to consider multiple possible interpretations of the word or phrase. Some designers specialize in creating ambigrams, and their work can be found in logos, tattoos, and other graphic designs.
n ambigram is created by designing a word or phrase such that different letters or letterforms are used in different orientations, such that the word or phrase can be read in multiple ways. There are several types of ambigrams, such as rotational ambigrams, which can be read in different orientations, and reflective ambigrams, which can be read when reflected in a mirror.
Ambigrams have been used in various forms of art, typography, graphic design, tattoos, and even on book covers, logos, and other forms of branding. They have also been used in cryptography and secret messages, where the sender and the receiver must know the technique to read the message.
Ambigrams can be created by hand, or by using various computer programs such as Illustrator, and there are also online tools that can help you create your own ambigrams. There are also communities and websites dedicated to ambigrams and their designs, where artists and designers can share their work, and get inspiration from others.
Versions of Figure Ground Ambigrams
The following are a few Figure Ground Ambigrams:
Figure Ground Ambigrams (Formula 1 Logo with embedded “1”
Illusions like Figure Ground Ambigrams
Figure-ground ambigrams are a type of perceptual illusion known as an “ambiguous figure”. Ambiguous figures are visual images or designs that can be interpreted in more than one way, depending on how the viewer perceives them.
In the case of figure-ground ambigrams, the same design can be seen as two different words or phrases depending on which part of the design is interpreted as the foreground and which is interpreted as the background. This creates a perceptual ambiguity that can be resolved in multiple ways, leading to the illusion of the same design having two different meanings.
The phenomenon of ambiguous figures is related to the concept of “multistable perception” in visual perception, where our brains constantly switch between different interpretations of an ambiguous stimulus. In the case of figure-ground ambigrams, the viewer’s perception can switch back and forth between the two possible interpretations of the design, creating the illusion of an image that can be seen in multiple ways.
Overall, figure-ground ambigrams are a fascinating example of the power of visual perception and the ways in which our brains can interpret complex visual stimuli in multiple ways.
Some related illusions include the following:
An ambigram is a typographical design that can be read as one or more words, not just in its normal orientation but also when it is rotated, flipped or viewed from a different angle. The word “ambigram” comes from the Latin “ambi-” (meaning “both”) and “gram” (meaning “letter” or “word”).
An ambigram is not considered an illusion in the traditional sense of the word, but it is a form of visual play that can be seen as a type of perceptual puzzle.
Ambigram of Ambigram
The Rubin vase, also known as the Rubin face or the figure-ground vase, is a famous optical illusion in which the image of a vase can also be perceived as two faces in profile looking at each other.
The duck-rabbit illusion is an optical illusion that is an image that can be perceived as either a duck or a rabbit depending on how the viewer looks at it.
The Necker cube is an optical illusion that features a simple wireframe drawing of a cube. The cube appears to switch back and forth between two different orientations.
The My Wife and My Mother-in-Law illusion is an optical illusion with an image of a young woman’s face that can also be perceived as an older woman’s face.
The Schröder Staircase is an optical illusion that features a drawing of a staircase. The staircase appears to be either ascending or descending, depending on how the brain interprets the angles of the lines.
From Wikimedia Commons
The impossible cube is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The Penrose triangle, also known as the Penrose tribar, is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The impossible trident is a three-pronged impossible shape resembling a trident. It is usually depicted as a three-pronged fork with each prong appearing to be a continuation of the next, creating an impossible shape.
From Wikimedia Commons
The spinning dancer illusion is a visual illusion that depicts a silhouette of a dancer spinning clockwise or counterclockwise. The direction of the dancer’s spin can appear to change depending on the viewer’s perception
From Wikimedia Commons
The Monroe-Einstein illusion works by playing with the viewer’s expectations about the relationships between the features of the faces and the viewer’s sense of facial proportions.
Discovery of Ambigrams
The creation of figure-ground ambigrams is a type of graphic design that has been practiced by many designers over the years, so it’s difficult to attribute the discovery of this type of illusion to any one individual.
However, the term “ambigram” was popularized by the artist Douglas Hofstadter in his 1980 book “Gödel, Escher, Bach: An Eternal Golden Braid”. In the book, Hofstadter discusses the concept of “strange loops” in art and music, and he uses the term “ambigram” to describe designs that can be read in multiple orientations.
Since the publication of Hofstadter’s book, the field of ambigram design has grown, and many designers have created their own innovative ambigram designs. Some of the most famous ambigram designers include Scott Kim, John Langdon, and Nikita Prokhorov.
Overall, while the creation of figure-ground ambigrams has a long history in the world of graphic design, the popularization of the term “ambigram” can be attributed to Hofstadter’s work, which helped to bring the concept of these intriguing designs to a wider audience.
Douglas Hofstadter is an American cognitive scientist, philosopher, and author who is best known for his book “Gödel, Escher, Bach: An Eternal Golden Braid”, which won the Pulitzer Prize for General Non-Fiction in 1980.
Born in New York City in 1945, Hofstadter earned his bachelor’s degree in mathematics from Stanford University in 1965, and his PhD in physics from the University of Oregon in 1975. He is currently the College of Arts and Sciences Distinguished Professor of Cognitive Science at Indiana University.
Hofstadter’s work in cognitive science and artificial intelligence focuses on the nature of consciousness, creativity, and the relationship between mind and machine. In addition to “Gödel, Escher, Bach”, his books include “Metamagical Themas”, “Fluid Concepts and Creative Analogies”, and “I Am a Strange Loop”.
Hofstadter is also a prolific essayist and columnist, having written for numerous publications including The Atlantic, Scientific American, and The New York Times. His writing covers a wide range of topics, from mathematics and computer science to art, music, and philosophy.
Overall, Douglas Hofstadter is a highly respected figure in the fields of cognitive science and artificial intelligence, and his work has had a significant impact on our understanding of the nature of consciousness and creativity.
The face forward or to the side illusion is another type of optical illusion that involves a two-dimensional image, usually a face, that appears to switch between looking straight ahead and looking to the side, depending on how you view it.
This illusion is created through the use of subtle differences in the proportions and positioning of facial features on each side of the face, which can trick the brain into perceiving a shift in the direction of the gaze.
The illusion is often used in artwork, such as portraits and sculptures, to create a sense of dynamism and movement.
Profile or Portrait Illusion – Is he looking forward or to the side?
Ambiguous illusions work by presenting the viewer with an image that can be interpreted in different ways, depending on how the brain processes the visual information. These illusions take advantage of the fact that our perception of the world is not solely determined by the information that enters our eyes, but is also influenced by our prior experiences and expectations.
One common type of ambiguous illusion is the “Necker cube,” which is a two-dimensional drawing that can be interpreted as a cube that is either facing toward the viewer or away from the viewer, depending on how the image is viewed. Other examples of ambiguous illusions include the “duck-rabbit” illusion, which can be seen as either a duck or a rabbit, and the “vase-faces” illusion, which can be seen as either a vase or two faces looking at each other.
These illusions work by creating visual cues that can be interpreted in multiple ways, leading the brain to oscillate between different possible interpretations. The exact neural mechanisms underlying ambiguous illusions are still the subject of scientific study, but they are thought to involve complex interactions between different parts of the brain involved in visual processing, attention, and perceptual decision-making.
With the profile or portrait illusion, the brain organizes the visual information in a way that creates the most meaningful and coherent interpretation, which can vary depending on how the viewer looks at the image.
It works by playing with the viewer’s expectations about the relationships between the different facial features, and highlights the brain’s ability to perceive depth and 3-dimensional structure in 2-dimensional images, and how it organizes the information in a way that creates the most meaningful and coherent interpretation.
Additionally, it is also related to the concept of “perceptual set” which refers to the brain’s ability to focus on specific aspects of the image and ignore others depending on the context, and “top-down processing” where the brain uses prior knowledge to interpret the visual information coming from the eyes.
Versions of the Profile or Portrait Illusion
The following is another version of the Profile or Portrait Illusion:
Ambiguous illusions are visual stimuli that can be interpreted in more than one way. These illusions typically consist of a single image that can be perceived in multiple ways. Ambiguous illusions can be used to study the neural mechanisms of perception and how the brain resolves ambiguity.
Some related illusions include the following:
The Rubin vase, also known as the Rubin face or the figure-ground vase, is a famous optical illusion in which the image of a vase can also be perceived as two faces in profile looking at each other.
The duck-rabbit illusion is an optical illusion that is an image that can be perceived as either a duck or a rabbit depending on how the viewer looks at it.
The Necker cube is an optical illusion that features a simple wireframe drawing of a cube. The cube appears to switch back and forth between two different orientations.
The My Wife and My Mother-in-Law illusion is an optical illusion with an image of a young woman’s face that can also be perceived as an older woman’s face.
The “My husband and father-in-law” illusion is a variation of the “My wife and my mother-in-law” illusion, which is an optical illusion that is an image of a man’s face that can also be perceived as an older man’s face.
This illusion is also created by the way the brain organizes the visual information in the image, and how it interprets the relationships between the different features of the face.
The Schröder Staircase is an optical illusion that features a drawing of a staircase. The staircase appears to be either ascending or descending, depending on how the brain interprets the angles of the lines.
From Wikimedia Commons
The impossible cube is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The Penrose triangle, also known as the Penrose tribar, is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The impossible trident is a three-pronged impossible shape resembling a trident. It is usually depicted as a three-pronged fork with each prong appearing to be a continuation of the next, creating an impossible shape.
From Wikimedia Commons
The spinning dancer illusion is a visual illusion that depicts a silhouette of a dancer spinning clockwise or counterclockwise. The direction of the dancer’s spin can appear to change depending on the viewer’s perception
From Wikimedia Commons
The Monroe-Einstein illusion works by playing with the viewer’s expectations about the relationships between the features of the faces and the viewer’s sense of facial proportions.
Discovery of the Profile or Portrait Illusion
No one is specifically credited with discovering the Profile or Portrait Illusion.
William Ely Hill was an artist and caricaturist. He is best known for his illustrations and cartoons that were published in magazines and newspapers in the early 20th century. He was born in London in 1887 and studied at the Lambeth School of Art. He began his career as an illustrator working for magazines such as Punch, The Tatler, and The Sketch. He then started to work as a cartoonist and illustrator for newspapers like The Bystander and The Graphic. He also illustrated books, such as “The Complete Book of Tricks and Puzzles” and “The Big Little Book of Jokes and Riddles”.
Hill became famous for his illustrations of women, which were often featured in advertisements, postcards, and magazines. His illustrations were known for their elegance and attention to detail, and for their ability to capture the spirit of the times. He was also known for his ability to convey humor and satire in his illustrations. His illustrations were featured in magazines and newspapers in the United Kingdom, United States, and Canada, and his work is considered to be a good representation of illustration and cartoon style of early 20th century. He died in London in 1962.
Dr. Jack Botwinick is a well-known neuropsychologist who has made significant contributions in the field of aging and cognitive psychology.
He is a professor of psychology at the City University of New York, and has also served as a faculty member at other institutions.
He has authored several books and numerous research papers on topics such as aging and memory, cognitive aging, and neuropsychology.
He is also known for his work in developing and testing theories of cognitive aging, and for his contributions to the understanding of the neural and cognitive mechanisms underlying memory and aging.
Aliasing is a phenomenon that occurs in digital signal processing, particularly in images and video.
It refers to the effect of undersampling, where a signal that is sampled at a rate lower than the Nyquist rate (the minimum sampling rate required to accurately represent a signal) can create artifacts and distorted images.
Aliasing can be considered an illusion in the sense that it creates an image or signal that is different from the way it actually is.
When aliasing occurs, the signal is undersampled, meaning that it is not sampled at a high enough rate to accurately represent it. This results in the creation of artifacts and distorted images that appear different from the original signal.
In the image below, the picture is actually a star with 1024 points but the sheer number of points makes the image appear to be a circle with intricate designs around the edges.
The image is actually a star with 1024 points but the sheer number of points makes the image appear to be a circle with intricate designs around the edges. From Wikimedia Commons
Aliasing works by undersampling a signal, meaning that it is sampled at a rate lower than the Nyquist rate, which is the minimum sampling rate required to accurately represent a signal.
In digital signal processing, a signal is sampled by taking snapshots of its value at regular intervals. The sample rate determines how often the signal is sampled, and this directly affects the accuracy of the signal representation. The Nyquist rate is the minimum sample rate that must be used to accurately represent a signal, and it is based on the highest frequency present in the signal.
If the sample rate is lower than the Nyquist rate, the signal will not be accurately represented, and the highest frequency components will be aliased, meaning that they will appear as lower frequency components in the sampled signal. This can cause the signal to appear jagged and stair-stepped, rather than smooth and curved, creating the appearance of artifacts and distorted images.
For example, in images and video, aliasing can occur when the spatial frequency of an image is higher than the sampling rate, causing the image to appear jagged and stair-stepped, rather than smooth and curved. This can result in the creation of “moiré” patterns, which are wavy, repetitive patterns that appear as an artifact in the image.
In audio signals, aliasing can create a metallic or “phased” sound that can be heard as an artifact in the audio.
To reduce aliasing, techniques such as anti-aliasing and oversampling can be used to sample the signal at a higher rate, ensuring that it is accurately represented and reducing the occurrence of distorted or jagged images.
Versions of Aliasing
The following is another example of the same image with and without aliasing.
The following is another examples of Aliasing, the Wagon Wheel Illusion
Illusions like Aliasing
Aliasing can be considered a type of sensory illusion because it creates an image or signal that is different from the way it actually is. When aliasing occurs, the signal is undersampled, meaning that it is not sampled at a high enough rate to accurately represent it. This results in the creation of artifacts and distorted images that appear different from the original signal.
The phenomenon of aliasing can be considered an illusion because it tricks the observer into perceiving the image or signal differently from the way it actually is, just like other optical illusions. By creating distorted images and artifacts, aliasing can cause the brain to perceive a signal differently from the way it actually is, creating an illusion of a different image or sound.
In this sense, aliasing can be considered a type of sensory illusion, as it tricks the brain into perceiving information in a way that is different from reality. The specific type of sensory illusion created by aliasing depends on the context in which it occurs, as it can affect both visual and auditory signals.
The following are some illusions that are related Aliasing:
The wagon wheel illusion is a visual illusion in which a rotating wheel appears to be rotating in the opposite direction or at a different speed than its actual rotation.
The illusion is most commonly observed when viewing a wheel that is lit with strobe lights or a series of still images, such as a filmstrip or video.
Wagon Wheel Illusion From Wikimedia Commons
Troxler’s fading, also known as Troxler’s effect, is a phenomenon in which a stationary visual stimulus, such as a dot or a shape, disappears from perception after a certain period of time.
From Wikimedia Commons
The Phi phenomenon is the illusion of movement created by the rapid succession of static images or light sources.
The Rotating Snakes is a peripheral drift illusion that consists of a grid of shapes, with some of them appearing to be rotating or undulating. The illusion is created by the interaction of the shapes with the neural processing of the visual system.
The Moiré pattern illusion: This illusion is created by superimposing two similar patterns on top of each other, such as a grid of lines or circles. The resulting pattern appears to be moving or changing.
From Wikimedia Commons
The Scintillating Grid Illusion, in which a grid of black and white squares appears to pulsate or “breathe” when viewed from the periphery of the image.
The Hermann Grid Illusion, in which the intersections of a white grid on a black background appear to be gray, even though they are actually the same color as the background.
The Zöllner Illusion, in which parallel lines appear to be tilted or bent when intersected by diagonal lines.
The Fraser Spiral Illusion, in which a pattern of short, curved lines appears to form a spiral.
The Café Wall Illusion is a visual illusion that is created by a grid of alternating light and dark horizontal and vertical lines. The lines appear to be bent or tilted, even though they are actually straight.
These illusions are usually caused by the way our eyes process visual information and the way the brain interprets it. They can also be caused by the interaction of different visual elements, such as lines and angles, in the image. They are often used in research on visual perception and the neural basis of perception.
Discovery of Aliasing
The concept of aliasing has been known since the early days of digital signal processing, and its existence has been widely recognized by researchers and engineers working in the field. The term “aliasing” was first introduced by Harry Nyquist in 1928, and it is based on the Nyquist Sampling Theorem, which states that a signal must be sampled at a rate greater than twice the highest frequency present in the signal in order to accurately represent it.
It’s important to note that the concept of aliasing and the Nyquist Sampling Theorem are based on mathematical principles that were known long before they were formally defined by Harry Nyquist. The Nyquist Sampling Theorem and the concept of aliasing are widely recognized and studied in the field of digital signal processing, and are considered fundamental concepts in the field.
In this sense, the discovery of aliasing is not attributed to a single individual, but rather is a result of the collective efforts of many researchers and engineers who have worked in the field of digital signal processing over the years.
Harry Nyquist was an American electrical engineer and mathematician who made significant contributions to the field of communication theory and digital signal processing. He was born in 1889 in Sweden and immigrated to the United States as a young man.
Nyquist is best known for his work on the sampling theorem, which is now known as the Nyquist Sampling Theorem. This theorem states that a signal must be sampled at a rate greater than twice the highest frequency present in the signal in order to accurately represent it. The theorem is widely used in digital signal processing and has been fundamental in the development of modern digital communication systems.
Nyquist’s work laid the foundation for the development of modern digital communication systems, and he is widely recognized as one of the pioneers of the field. His contributions to the field of digital signal processing have had a lasting impact on the field, and his work continues to be widely studied and applied today.
“The Ambassadors” is a painting by the German Renaissance artist Hans Holbein the Younger, completed in 1533. The painting depicts two ambassadors, Jean de Dinteville and Georges de Selve, who were sent by King Francis I of France to the court of Henry VIII of England.
The painting is known for its complex composition and the many visual elements that are incorporated into the design. The two ambassadors are depicted in a room that is filled with rich details, including a carpet, a table with books and instruments, a lute, and a crucifix. The floor is tiled with a detailed geometric pattern, and the walls are covered with shelves of books and other objects.
One of the most striking aspects of “The Ambassadors” is the distorted skull that is placed in the foreground of the image. This skull, which is painted in a striking trompe l’oeil style, has become one of the most famous elements of the painting and has been interpreted in a variety of ways over the years. Some have interpreted the skull as a symbol of death and the transience of life, while others have seen it as a reference to the memento mori tradition in Renaissance art.
Regardless of the interpretation, “The Ambassadors” is widely regarded as one of Holbein’s greatest masterpieces, and it is considered one of the most important works of Renaissance art. The painting continues to be celebrated for its intricate composition, its powerful visual elements, and its vivid representation of Renaissance court life.
The illusions in Hans Holbein the Younger’s painting “The Ambassadors” work through a variety of techniques, including perspective, proportion, and trompe l’oeil (fool-the-eye) painting.
One of the key illusions in the painting is the use of linear perspective. The floor tiles and the shelves in the background are arranged to create a sense of depth and to give the painting a three-dimensional feel. The objects in the room, including the carpet, the table, the books, and the instruments, are also carefully arranged to create a sense of spatial relationships and to lead the viewer’s eye through the painting.
Another important aspect of the illusions in “The Ambassadors” is the use of proportion. The figures of the two ambassadors are depicted in a highly stylized and idealized manner, with their bodies elongated and their faces and hands carefully proportioned to create a sense of beauty and symmetry.
The distorted skull in the foreground of the painting is also an important element of the illusions in the work. This skull, which is painted in a trompe l’oeil style, appears to be three-dimensional and to pop out from the surface of the painting, giving the illusion that it is a real object in the room.
Overall, the illusions in “The Ambassadors” are created through a combination of perspective, proportion, and trompe l’oeil techniques, which work together to create a rich and complex visual environment that is both beautiful and thought-provoking.
Famous Artists who Also Use Anamorphosis in Their Art
Anamorphosis is a form of optical illusion in which an image appears distorted when viewed from a certain perspective and can only be seen in its proper form when viewed from a specific angle or using a mirror or special lens. The word “anamorphosis” comes from the Greek words “ana,” meaning “again,” and “morphe,” meaning “form.”
Anamorphosis was used extensively in the Renaissance and Baroque periods as a way of creating intriguing and often thought-provoking images. Artists would paint anamorphic images on a flat surface and then place a mirror at a specific angle in order to create the illusion of a three-dimensional image. The technique was also used to create hidden images that could only be seen from specific perspectives.
In recent years, anamorphosis has been used in a variety of modern art forms, including street art and advertising. In these contexts, anamorphic images are often used to create eye-catching and attention-grabbing displays that appear to change shape as the viewer moves around them.
Anamorphosis is a fascinating and versatile technique that demonstrates the interplay between art and science, and highlights the importance of perception and the role that context and perspective play in shaping our interpretation of the world.
Anamorphosis has been used by various artists throughout history, including some of the most famous and influential artists of their time. Here are a few notable artists who have used anamorphosis in their work:
Leonardo da Vinci: Da Vinci was one of the earliest artists to experiment with anamorphosis and is widely regarded as one of the pioneers of the technique. He used anamorphosis in his sketches and drawings to represent three-dimensional objects on two-dimensional surfaces.
Hans Holbein the Younger: Holbein was a German artist who lived in the 16th century and was known for his portraits, paintings, and drawings. He used anamorphosis in his portraits to create striking and unusual effects, and many of his anamorphic paintings are still regarded as some of the finest examples of the technique.
René Magritte: Magritte was a Belgian surrealist artist who was known for his paintings, illustrations, and collages. He used anamorphosis in his paintings to create illusions and to challenge the viewer’s perception of reality.
M. C. Escher: Escher was a Dutch graphic artist who is widely regarded as one of the greatest artists of the 20th century. He used anamorphosis in his prints, lithographs, and drawings to create impossible objects and to challenge the viewer’s perception of space and time.
These are just a few of the many artists who have used anamorphosis in their work, and there are many other artists who have also explored this fascinating technique. Overall, anamorphosis is a powerful tool for artists to create striking and unusual effects, to challenge the viewer’s perception, and to demonstrate the interplay between art and science.
Other views of The Ambassadors by Holbein
Here are some other views of The Ambassadors
The Skull When Viewed from the Ride Side
The video shows how the illusion works in real life.
Meaning of the Skull in The Ambassadors by Holbein
The skull is a common symbol of death and is often associated with the idea of “momento mori,” or remembering death. In works of art and literature, the skull has been used as a reminder of the inevitability of death and the transience of life, serving as a powerful symbol of the importance of living life to the fullest and of preparing for the afterlife.
Whether depicted in a realistic or stylized manner, the skull has a timeless quality that speaks to the universality of the human experience and the fact that death is a part of life. For this reason, it continues to be a popular and enduring symbol of death and a reminder of the importance of cherishing each moment and making the most of the time we have.
Momento mori is a Latin phrase that translates to “remember death” or “remember that you must die.” It is a reminder to live life to the fullest and to appreciate each moment, as death is inevitable and can come at any time.
In art, the phrase “momento mori” is often used to describe works that depict symbols of death, such as skulls, bones, and hourglasses, and which serve as a reminder of the transience of life and the inevitability of death. This type of art was especially popular during the Renaissance and Baroque periods, when it was common to incorporate symbols of death into works of art as a reminder of the importance of living a virtuous life and of preparing for the afterlife.
Today, the phrase “momento mori” continues to be used to describe works of art that incorporate symbols of death, as well as to refer to the broader cultural tradition of reflecting on the inevitability of death and the importance of living life to the fullest. Whether through art, literature, philosophy, or other means, the idea of momento mori remains a powerful reminder of the importance of cherishing every moment and making the most of the time we have.
Illusions like The Ambassadors by Holbein
Some similar illusions are as follows:
Trompe-l’œil is a French term that means “trick the eye.”
It refers to a style of art that uses realistic depictions of three-dimensional objects to create the illusion of depth and a life-like appearance.
Trompe-l’œil paintings and murals are often used to create the illusion of an extended space or to make a room appear larger than it actually is.
Trompe-L’œil
Anamorphosis is a technique in art and optics that involves creating an image that appears distorted or irregular when viewed from one perspective, but appears normal or regular when viewed from another perspective or with the use of a specialized tool, such as a mirror or a cylindrical lens.
Anamorphosis
Artwork by MC Escher. M.C. Escher is widely known for his mathematically inspired and often impossible constructions, and his works are characterized by their playfulness, intricate details, and optical illusions. Some of his most famous works include:
“Relativity” – A lithograph that depicts a world where gravity and direction are relative and interchangeable.
“Waterfall” – A woodcut print that features a seemingly impossible flow of water that cascades upward and through a gear system before falling back down into a pool.
“Sky and Water I” – A woodcut print that features an intricate pattern of birds and fish that seem to transform into each other.
“Day and Night” – A woodcut print that features a world where the boundary between day and night is fluid and interchangeable.
“Metamorphosis III” – A lithograph that features a series of interlocking shapes that seem to change and transform into one another.
“Hands Drawing Hands” – A lithograph that features a series of hands drawing hands, creating a never-ending cycle of creation.
These works, and many others by Escher, continue to captivate and inspire audiences with their intricate details, playful illusions, and mathematical elegance.
Forced perspective is a technique used in photography, architecture, and other visual arts to manipulate the perception of the size and distance of objects.
It creates the illusion of a larger or smaller object, or of one that is closer or farther away, by carefully controlling the angles, proportions, and placement of objects in the scene.
Forced Perspective
The Ponzo illusion is a type of visual illusion in which a pair of parallel lines, or a horizontal bar, appear to be of different lengths based on the presence of a converging or diverging set of lines, often resembling the converging parallel lines of a road or railway track, placed above and below them.
The Ponzo Illusion
The Ebbinghaus illusion: This illusion is similar to the Delboeuf illusion but in this case the central circle appears larger when surrounded by smaller circles and smaller when surrounded by larger circles.
The Delboeuf illusion is a perceptual illusion in which the perceived size of a circle is affected by the size of the surrounding circles.
The Occlusion illusion is a visual illusion where an object that is partially obscured by another object appears to be farther away than it actually is. This illusion is caused by the brain’s interpretation of the relative depth of the objects based on their relative size and position. This phenomenon is based on the visual cues that the brain uses to perceive depth, such as relative size, position, and overlap.
The Müller-Lyer illusion is a classic example of size-contrast illusion, in which two lines of equal length appear to be different due to the presence of arrowheads or fins at the end of the lines.
The moon illusions involves the perception of the Moon appearing larger when it is near the horizon compared to when it is high in the sky.
The Kanizsa triangle is a visual illusion that was first described by the Italian psychologist Gaetano Kanizsa in 1955. The illusion consists of a white equilateral triangle that appears to be surrounded by three Pac-Man-like shapes, which are black and have white crescents facing inwards.
All these illusions demonstrate that the perceived size of an object can be influenced by the context in which it is presented, and that the brain uses the size of the surrounding objects as a reference point to judge the size of the central object.
Creation of The Ambassadors
The painting “The Ambassadors” by Hans Holbein the Younger was painted in 1533. It is considered one of Holbein’s most famous and significant works, and is known for its intricate and detailed composition, as well as for the enigmatic and thought-provoking objects included in the foreground of the painting.
The Ambassadors is a double portrait that depicts two French diplomats, Jean de Dinteville and Georges de Selve, who were sent to England on a diplomatic mission. The painting is notable for its innovative use of perspective and for the many objects included in the foreground, which serve to provide a glimpse into the lives and interests of the two diplomats.
Today, “The Ambassadors” is considered one of the great masterpieces of Renaissance art and is housed in the National Gallery in London, where it continues to draw crowds of admirers and art lovers from around the world.
Hans Holbein the Younger was a talented and prolific artist who produced a large body of work during his lifetime. Some of his other notable works include:
“The French Ambassadors” (1533): A double portrait of two French diplomats, this painting is considered one of Holbein’s most important works and is known for its intricate composition and enigmatic objects included in the foreground.
“The Family of Henry VIII” (1542): A series of portraits of King Henry VIII and his family members, this work is considered one of the most important examples of Renaissance portraiture in England.
“The Dead Christ” (1521): A powerful and moving depiction of the crucified Christ, this painting is considered one of Holbein’s earliest works and is notable for its realistic style and attention to detail.
“The Dance of Death” (1526-1528): A series of woodcut illustrations depicting the universality of death, this work is considered one of Holbein’s most important and influential works and is considered a masterpiece of Renaissance printmaking.
“Christ in the Tomb” (1521): Another powerful depiction of the crucifixion, this painting is notable for its dramatic use of light and shadow and its powerful emotional impact.
Hans Holbein the Younger was a German Renaissance artist who lived from 1497 to 1543. He was a painter, draftsman, and printmaker who worked in a variety of media, including oils, frescoes, watercolors, and woodcuts. Holbein is considered one of the greatest portraitists of the Renaissance and is especially known for his portraits of European royalty and nobility.
Holbein was born in Augsburg, Germany, and worked in several European cities, including Basel, Switzerland, and London, England. He was active at a time of great cultural and intellectual ferment, and was a contemporary of many of the leading artists, writers, and intellectuals of the Renaissance.
Holbein’s portraits are known for their lifelike quality and their ability to capture the unique personalities of his sitters. He was also a master of perspective and spatial relationships, and his works often include intricate details and symbolic elements that reflect the interests and beliefs of the sitters.
Overall, Hans Holbein the Younger is considered one of the most important and influential artists of the Renaissance and his works continue to be widely admired and studied today.
“Drawing Hands” is a famous lithograph by the Dutch artist M.C. Escher. It was created in 1948 and is considered one of Escher’s most famous works.
The image depicts two hands that seem to be drawing each other. The left hand holds a pencil and appears to be drawing the outline of the right hand, while the right hand holds a pencil and appears to be drawing the outline of the left hand. This creates a paradoxical and circular composition, as the hands seem to be both creating and being created by each other.
The image is a good example of Escher’s interest in optical illusions and impossible constructions. The hands are depicted with a high degree of realism, yet they are placed in an impossible and self-referential configuration, challenging our perception of reality. The hands also create a visual link between the act of creation and the act of perception, as if the viewer is witnessing the process of creation happening before their eyes.
“Drawing Hands” is considered one of Escher’s most iconic works and continues to captivate audiences with its paradoxical and visually engaging composition
The illusions in M.C. Escher’s “Drawing Hands” work through the manipulation of perspective, spatial relationships, and the use of mirrored reflections. Escher carefully crafted the composition of the two hands to create the illusion that they are drawing each other in a circular and self-referential manner.
The hands are depicted in a way that appears to be anatomically correct, with a high degree of realism. The placement of the hands and the positioning of the pencils creates the illusion of depth and the impression that the hands are reaching out towards the viewer. The circular composition of the hands creates a paradoxical and impossible construction, as the hands seem to be both creating and being created by each other.
Additionally, the use of mirrored reflections reinforces the illusion of a continuous and self-referential space. The reflection of the hands in the surface beneath them creates a visual connection between the two hands, as if they are two sides of the same object.
Overall, the illusions in “Drawing Hands” work through the combination of realistic depictions of the hands, the manipulation of perspective and spatial relationships, and the use of mirrored reflections. These techniques create a visually engaging and paradoxical composition that challenges our perception of reality.
Versions of Drawing Hands by Escher
The following are some alternate versions of Drawing Hands by Escher
Illusions like Drawing Hands by Escher
“Drawing Hands” by M.C. Escher contains several types of illusions, including:
Optical Illusion: The image of the two hands appearing to draw each other creates a paradoxical and self-referential optical illusion. This illusion challenges our perception of reality by depicting a seemingly impossible construction.
Forced Perspective: Escher used forced perspective to create the illusion of depth and the impression that the hands are reaching out towards the viewer. By carefully controlling the size and placement of the hands and pencils, he created the illusion of a three-dimensional space.
Mirrored Reflection: The use of mirrored reflections reinforces the illusion of a continuous and self-referential space. The reflection of the hands in the surface beneath them creates a visual connection between the two hands, as if they are two sides of the same object.
Paradox: The image of the two hands drawing each other creates a paradoxical construction, as the hands seem to be both creating and being created by each other. This paradoxical relationship is a key component of the illusion in “Drawing Hands.”
Overall, “Drawing Hands” contains several different types of illusions that work together to create a visually engaging and paradoxical composition.
Some related illusions include the following:
Penrose figures are impossible objects that were first described by the mathematician and philosopher Roger Penrose in the 1950s.
They are optical illusions that depict objects that appear to violate the laws of three-dimensional geometry. Penrose figures are typically drawn or represented as two-dimensional images, but they create the illusion of a three-dimensional object that cannot actually exist in the real world.
Some common examples of Penrose figures include the Penrose triangle, which appears to have vertices that join in impossible ways, and the Penrose stair, which appears to be a staircase that goes on forever, with the steps constantly descending and yet never reaching the bottom.
These figures challenge our perception of the world and have been used in art, architecture, and psychology to study the workings of the human mind and the limits of human perception.
Penrose Shapes
The Penrose stairs, also known as the impossible staircase or the Penrose steps, is a visual illusion in the form of an impossible object created by the mathematician and physicist Roger Penrose.
The illusion is a two-dimensional representation of a staircase that appears to ascend or descend indefinitely, yet is physically impossible to climb or descend because the steps are not connected in a logical manner.
It is often used as an example of the type of optical illusion that can occur in the human brain and is used in cognitive psychology to study perception and attention.
The Penrose Staircase Illusion
The Penrose triangle, also known as the Penrose tribar, is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The Rubin vase, also known as the Rubin face or the figure-ground vase, is a famous optical illusion in which the image of a vase can also be perceived as two faces in profile looking at each other.
The duck-rabbit illusion is an optical illusion that is an image that can be perceived as either a duck or a rabbit depending on how the viewer looks at it.
The Necker cube is an optical illusion that features a simple wireframe drawing of a cube. The cube appears to switch back and forth between two different orientations.
The My Wife and My Mother-in-Law illusion is an optical illusion with an image of a young woman’s face that can also be perceived as an older woman’s face.
Forced perspective is a technique used in photography, architecture, and other visual arts to manipulate the perception of the size and distance of objects.
It creates the illusion of a larger or smaller object, or of one that is closer or farther away, by carefully controlling the angles, proportions, and placement of objects in the scene.
The Schröder Staircase is an optical illusion that features a drawing of a staircase. The staircase appears to be either ascending or descending, depending on how the brain interprets the angles of the lines.
From Wikimedia Commons
The impossible cube is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The impossible trident is a three-pronged impossible shape resembling a trident. It is usually depicted as a three-pronged fork with each prong appearing to be a continuation of the next, creating an impossible shape.
From Wikimedia Commons
The spinning dancer illusion is a visual illusion that depicts a silhouette of a dancer spinning clockwise or counterclockwise. The direction of the dancer’s spin can appear to change depending on the viewer’s perception
The Shepard elephant illusion is an optical illusion that was created by the artist David H. Shepard. The illusion is a black-and-white line drawing of an elephant that appears to be three-dimensional and in motion, despite being a flat, static image.
The illusion is created by using a technique called “anamorphosis,” which involves distorting an image in a specific way so that when it is viewed from a certain angle or perspective, it appears to be in a different form or shape.
Creation of Drawing Hands by Escher
“Drawing Hands” is a famous lithograph by the Dutch artist M.C. Escher. It was created in 1948 and is considered one of Escher’s most famous works.
Maurits Cornelis (M.C.) Escher was a Dutch graphic artist born on June 17, 1898, in Leeuwarden, Netherlands. He was widely known for his mathematically inspired and often impossible constructions, as well as his use of tessellations, or repeated patterns of shapes that fit together seamlessly like tiles.
Escher’s works are characterized by their playfulness, intricate details, and optical illusions. He created many famous prints and drawings, including “Relativity,” “Sky and Water I,” and “Day and Night,” all of which showcase his fascination with impossible constructions and the interplay between two-dimensional and three-dimensional space.
Escher’s works have had a profound influence on mathematics, art, and popular culture, and continue to be widely recognized and celebrated today. He is considered one of the greatest graphic artists of the 20th century, and his works are prized by collectors and art enthusiasts all over the world.
M.C. Escher is widely known for his mathematically inspired and often impossible constructions, and his works are characterized by their playfulness, intricate details, and optical illusions. Some of his most famous works include:
“Relativity” – A lithograph that depicts a world where gravity and direction are relative and interchangeable.
“Waterfall” – A woodcut print that features a seemingly impossible flow of water that cascades upward and through a gear system before falling back down into a pool.
“Sky and Water I” – A woodcut print that features an intricate pattern of birds and fish that seem to transform into each other.
“Day and Night” – A woodcut print that features a world where the boundary between day and night is fluid and interchangeable.
“Metamorphosis III” – A lithograph that features a series of interlocking shapes that seem to change and transform into one another.
“Hands Drawing Hands” – A lithograph that features a series of hands drawing hands, creating a never-ending cycle of creation.
These works, and many others by Escher, continue to captivate and inspire audiences with their intricate details, playful illusions, and mathematical elegance.
“Metamorphosis III” by M.C. Escher is a woodcut print that showcases his skills in tessellation and transformation. The print features a series of shapes that seem to transform into each other, creating the illusion of a continuous cycle of transformation.
The print starts with a series of hexagons and becomes increasingly complex, with shapes that resemble birds, fish, and beetles transforming into each other. The shapes are arranged in such a way that they form a tessellation, a repeating pattern that covers the entire surface of the print.
The illusion of transformation is created through the use of similar shapes and patterns, as well as the way the shapes are arranged in relation to each other. The shapes are transformed gradually, with each shape becoming a smaller version of the shape that preceded it, creating the illusion of a never-ending cycle of transformation.
The use of color also plays a role in the illusion. The colors used in the print are muted, creating a sense of harmony and coherence, and the gradual change from one color to another reinforces the illusion of transformation.
Overall, “Metamorphosis III” is a masterful example of Escher’s skills in tessellation and transformation, showcasing his ability to create visually stunning and thought-provoking works that challenge the viewer’s perception of reality. The print is a testament to Escher’s mastery of mathematical principles and his ability to bring abstract concepts to life through his art.
M.C. Escher’s “Metamorphosis III” is a lithograph that features a series of transformed and interconnected architectural structures that create an optical illusion. The work is an example of impossible constructions, where the laws of perspective and gravity appear to be defied.
In this print, Escher used various techniques to create an illusion of multiple levels and impossible spaces. For example, he used a technique known as forced perspective, where he manipulated the size and placement of objects to create the illusion of depth and three-dimensionality. Additionally, he used repeated patterns and shapes to create the sense of a continuous space that transforms and interconnects in unexpected ways.
The print’s central image is a tower-like structure that appears to transform into a staircase, which then transforms into another tower, creating a never-ending cycle of transformation. This transformation is achieved through the use of interlocking shapes and a series of mirrored reflections that create the illusion of a continuous space.
Overall, the optical illusions in “Metamorphosis III” are created through the manipulation of perspective, the repetition of patterns and shapes, and the use of interlocking forms. These techniques work together to create a visually engaging and mind-bending image that challenges our perception of space and reality.
Versions of Metamorphosis III by Escher
The following are some alternate versions of Metamorphosis III by Escher
Metamorphosis II by Escher
Metamorphosis I by Escher
Illusions like Metamorphosis III by Escher
“Metamorphosis III” by M.C. Escher features several illusions, including:
Transformation illusion: The print features a series of shapes that seem to transform into each other, creating the illusion of a continuous cycle of transformation. The illusion of transformation is created through the use of similar shapes and patterns, as well as the way the shapes are arranged in relation to each other.
Tessellation illusion: The shapes used in the print are arranged in such a way that they form a tessellation, a repeating pattern that covers the entire surface of the print. This creates a sense of unity and coherence in the print and reinforces the illusion of transformation.
Perception illusion: The gradual change from one shape to another and the use of muted colors create a sense of harmony and coherence in the print, making it difficult for the viewer to discern the individual shapes and to tell where one transformation ends and the next begins. This challenges the viewer’s perception and forces them to look more closely at the print to understand what is happening.
Overall, “Metamorphosis III” features a combination of transformation, tessellation, and perception illusions,
Some related illusions include the following:
Penrose figures are impossible objects that were first described by the mathematician and philosopher Roger Penrose in the 1950s.
They are optical illusions that depict objects that appear to violate the laws of three-dimensional geometry. Penrose figures are typically drawn or represented as two-dimensional images, but they create the illusion of a three-dimensional object that cannot actually exist in the real world.
Some common examples of Penrose figures include the Penrose triangle, which appears to have vertices that join in impossible ways, and the Penrose stair, which appears to be a staircase that goes on forever, with the steps constantly descending and yet never reaching the bottom.
These figures challenge our perception of the world and have been used in art, architecture, and psychology to study the workings of the human mind and the limits of human perception.
Penrose Shapes
The Penrose stairs, also known as the impossible staircase or the Penrose steps, is a visual illusion in the form of an impossible object created by the mathematician and physicist Roger Penrose.
The illusion is a two-dimensional representation of a staircase that appears to ascend or descend indefinitely, yet is physically impossible to climb or descend because the steps are not connected in a logical manner.
It is often used as an example of the type of optical illusion that can occur in the human brain and is used in cognitive psychology to study perception and attention.
The Penrose Staircase Illusion
The Penrose triangle, also known as the Penrose tribar, is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The Rubin vase, also known as the Rubin face or the figure-ground vase, is a famous optical illusion in which the image of a vase can also be perceived as two faces in profile looking at each other.
The duck-rabbit illusion is an optical illusion that is an image that can be perceived as either a duck or a rabbit depending on how the viewer looks at it.
The Necker cube is an optical illusion that features a simple wireframe drawing of a cube. The cube appears to switch back and forth between two different orientations.
The My Wife and My Mother-in-Law illusion is an optical illusion with an image of a young woman’s face that can also be perceived as an older woman’s face.
The Schröder Staircase is an optical illusion that features a drawing of a staircase. The staircase appears to be either ascending or descending, depending on how the brain interprets the angles of the lines.
From Wikimedia Commons
The impossible cube is an optical illusion that depicts a three-dimensional object that is physically impossible to construct.
The impossible trident is a three-pronged impossible shape resembling a trident. It is usually depicted as a three-pronged fork with each prong appearing to be a continuation of the next, creating an impossible shape.
From Wikimedia Commons
The spinning dancer illusion is a visual illusion that depicts a silhouette of a dancer spinning clockwise or counterclockwise. The direction of the dancer’s spin can appear to change depending on the viewer’s perception
The Shepard elephant illusion is an optical illusion that was created by the artist David H. Shepard. The illusion is a black-and-white line drawing of an elephant that appears to be three-dimensional and in motion, despite being a flat, static image.
The illusion is created by using a technique called “anamorphosis,” which involves distorting an image in a specific way so that when it is viewed from a certain angle or perspective, it appears to be in a different form or shape.
Creation of Metamorphosis III by Escher
“Metamorphosis III” is a woodcut print created by M.C. Escher in 1967 and 1968. The work is considered one of Escher’s most iconic and recognizable pieces.
Maurits Cornelis (M.C.) Escher was a Dutch graphic artist born on June 17, 1898, in Leeuwarden, Netherlands. He was widely known for his mathematically inspired and often impossible constructions, as well as his use of tessellations, or repeated patterns of shapes that fit together seamlessly like tiles.
Escher’s works are characterized by their playfulness, intricate details, and optical illusions. He created many famous prints and drawings, including “Relativity,” “Sky and Water I,” and “Day and Night,” all of which showcase his fascination with impossible constructions and the interplay between two-dimensional and three-dimensional space.
Escher’s works have had a profound influence on mathematics, art, and popular culture, and continue to be widely recognized and celebrated today. He is considered one of the greatest graphic artists of the 20th century, and his works are prized by collectors and art enthusiasts all over the world.
M.C. Escher is widely known for his mathematically inspired and often impossible constructions, and his works are characterized by their playfulness, intricate details, and optical illusions. Some of his most famous works include:
“Relativity” – A lithograph that depicts a world where gravity and direction are relative and interchangeable.
“Waterfall” – A woodcut print that features a seemingly impossible flow of water that cascades upward and through a gear system before falling back down into a pool.
“Sky and Water I” – A woodcut print that features an intricate pattern of birds and fish that seem to transform into each other.
“Day and Night” – A woodcut print that features a world where the boundary between day and night is fluid and interchangeable.
“Metamorphosis III” – A lithograph that features a series of interlocking shapes that seem to change and transform into one another.
“Hands Drawing Hands” – A lithograph that features a series of hands drawing hands, creating a never-ending cycle of creation.
These works, and many others by Escher, continue to captivate and inspire audiences with their intricate details, playful illusions, and mathematical elegance.
