Filler Mean Rating (N=32) African 6.406 Singer 6.250 Blake 6.219 Buettner2 5.969 Saper 5.938

2. RL RR

3. RL RR

5. Filler Mean Rating (N=32) African 6.406 Singer 6.250 Blake 6.219 Buettner2 5.969 Saper 5.938 Kinstler2 5.688 Buettner 5.375 Kinstler 5.219 Hopper 4.969 Horton 4.844 Paint 4.812 Pastel 4.719 Drut 3.688 Drut2 3.469 Freud 3.406 Monahan 3.344 Tibet 3.312 Sutherland 3.031 Horton2 2.938 Rodwell 2.875

6. Working Abstract Following the masters: Viewer gaze is directed by relative detail in painted portraits A painted portrait differs from a photo in that the artist intentionally selects only certain regions for fine detail (i.e., narrow versus broad brushwork) and the contrast level of edges. Although artists and art critics have claimed that these choices guide the viewer’s eyes, this claim has not been thoroughly tested. In past studies of viewers gazing at original works of art, interpretation is complicated because regions of fine and coarse detail also differ in other ways (e.g., whether they are foreground or background). Here we monitored the gaze of participants viewing photos and paintings of the same portrait view, inspired by Rembrandt’s portraits (e.g., Self Portrait with Beret, 1659). The paintings were created by a non-photorealistic rendering technique to mimic Rembrandt’s style (DiPaola, 2007). In each painting, four regions of interest were selected for systematic variation in level of detail: left versus right eye region in finer detail and left versus right collar region in finer detail. Both original and mirror image views were tested to control for side biases. Participants viewed each portrait for a 5 sec period — in the context of viewing many portraits rendered in a wide range of styles —assigning ratings of artistic merit to each portrait. Analysis of the gaze patterns showed that fewer fixations were made overall when viewing paintings than photos, and that viewer’s eyes were both attracted to and dwelt longer in the eye region of a portrait that was rendered in finer detail. Even regions of the paintings that were rarely fixated directly (i.e., collar regions below each face) nevertheless guided the gaze of viewers, specifically enhancing the salience of eyes rendered in fine detail on the same side of the portrait. This implies that Rembrandt and other master portraitists use an effective implicit theory of gaze direction. - Riebe, DiPaola, Enns,

7. 17 16 FOCUS Blur Blur FOCUS 15 Total Fixation Frequency soft SHARP SHARP soft 14 13 12 Filler Art Input Photos Opposite Same-side Focus Regions in Critical Images Total Fixation Frequency (all image types) • critical art has fewer fixations (fewer saccades) overall than either filler art or photos • reducing detail and selectively emphasizing detail “quiets” the eye

8. 4200 4150 4100 FOCUS Blur Blur FOCUS 4050 Total Fixation Time (ms) 4000 soft SHARP SHARP soft 3950 3900 3850 3800 Filler Art Input Photos Opposite Same-side Focus Regions in Critical Images Total Dwell Time (all image types) • photos have slightly longer total fixation dwell times than either filler art or critical art (across all fixations) • very small effect (~ 50 ms)

9. 1200 1150 FOCUS Blur 1100 Blur FOCUS 1050 Time of First Fixation soft SHARP SHARP soft 1000 950 900 850 800 Focus Blur Focus Blur Original Photo Sharp Edge on Side of Focus Sharp Edge on Side of Blur First Fixation Time to either Eye Region (ROI 1, 2) “Attention-getting” • focused eye region attracts first fixation faster than blurred eye region • 100-200 ms effect! • fixation to blurred eye region is especially slow when there is a sharp edge on same side as the blur

10. 340 320 FOCUS Blur Blur FOCUS 300 soft 280 SHARP SHARP soft First Fixation Duration 260 240 220 200 Focus Blur Focus Blur Original Photo Sharp Edge on Side of Focus Sharp Edge on Side of Blur First Fixation Duration in Eye Regions (ROI 1, 2) “Attention-holding” • focused eye region holds first fixation longer than blurred eye region, more so when sharp edge on same side • 20 - 40 ms effect! • background: attended/remembered regions are fixated longer • sharp edge is an attractant that is stronger when its on opposite side of current fixation

11. 4.5 4.3 4.1 3.9 FOCUS Blur Blur FOCUS 3.7 Fixation Frequency 3.5 soft SHARP SHARP soft 3.3 3.1 2.9 2.7 2.5 Focus Blur Focus Blur Original Photo Sharp Edge on Side of Focus Sharp Edge on Side of Blur Frequency of Fixations in Eye Regions: Repeated “Attention-getting” • eyes in critical art attract more looks than eyes in photos • focused eye region attracts repeated fixation more than blurred eye region, but only when sharp edge on opposite side of focused eye • more back-forth competition from opposite side attractor than from same side??

12. .40 .35 FOCUS Blur Blur FOCUS .30 Proportion of Time in Eye Regions soft SHARP SHARP soft .25 .20 .15 .10 Focus Blur Focus Blur Original Photo Sharp Edge on Side of Focus Sharp Edge on Side of Blur Proportion Dwell Time in Eye Regions (ROI 1, 2) • eyes in critical art attract more looking time than eyes in photos • focused eye region attracts more overall gaze than blurred eye region, but only when sharp edge on opposite side of focused eye • more back-forth competition from opposite side attractor than from same side??

13. 2.0 Stay Move 1.8 1.6 FOCUS Blur 1.4 Frequency of Next Saccade 1.2 1.0 .8 .6 Input Photo Focus Region Blur Region Critical Images Frequency of Successive Saccades in Eye Regions (ROI 1, 2) - eyes in critical art attract more successive looks in same region than eyes in photos - focused eye region attracts more successive fixations than blurred eye region

14. .60 .55 .50 FOCUS Blur Blur FOCUS .45 .40 soft SHARP Proportion Saccades to New Region SHARP soft .35 .30 .25 .20 Blur -> Focus Blur -> Focus Focus -> Blur Focus -> Blur Original Photo Sharp Edge on Side of Focus Sharp Edge on Side of Blur Probability Moving from one Eye Region to another vs Staying in Same Region • move vs stay probability is 50% in photos • - move from blur -> focused eye more likely when sharp edge on opposite side of focused eye