When research was found that humans perceive their world in a gestalt or as an organized whole,

psychologists found that perception as a whole may exceed its sum or parts.

Humans have both form perception and depth perception. Form perception
consists of figure-ground relationship meaning the organization of the visual field
into objects (figures) that stand our from the surroundings (ground) in order to
discriminate figure from ground, humans have a tendency to group stimuli together.
Grouping is the defined as the perceptual tendency to organize stimuli into coherent
groups. Grouping consists of proximity similarity, continuity, connectedness, and
closure. But in order to give a painting a sense of depth, it is more prudent to list
the details relating to depth perception.

Depth perception is defined as the ability to see objects in three dimensions

through two images that strike the retina. These objects are two dimensional and
allows us to judge distance. Humans are able to transform two dimensional images
into three dimensional images by binocular cues and monocular cues. Binocular
cues are depth cues, such as retinal disparity and convergence, that depend on the
use of both eyes where as monocular cues are distance cues that are available to
either eye alone.

Concerning binocular cues, retinal disparity works to portray depth by

comparing images from two eyeballs. The brain is able to compute distance-the
greater the disparity (difference) between the two images, the closer the object.
Convergence also works with retinal disparity to convey depth. Convergence is the
extent to which the eyes converge inward when looking at an object. The brain
notes the angel of convergence, then computes whether you are focusing on
something in the room. In order to give depth to a painting, monecular cues would
bhe the most helpful. The first monecular cue is relative size. Relative size states
that if we assume that two objects are similar in size, we perceive that the one that
casts the smaller retinal image as farther away. For instance, to give the painting of
depth, say one is drawing a forest, you could draw same sized trees in the back and
front to show the distance as farther away.

The second monecular cue would be interposition. Interposition states that if

one object partially blocks our view of another, we perceive it as closer. In the
example of a forest painting we could have a log cabin partially blocked by forest
trees in the front enabling the effect that the cabin is further away.

A third monecular cue is relative clarity: Because the light from distant
objects passes through more atmosphere, we perceive hazy objects as farther away
than sharp, clear, objects. In the example of the forest paintings, using hazy fog in
the painting would make the background farther away.

Texture gradient can also be used to create a gradual change from a coarse,
distinct texture to a fine, indistinct texture. This signals incredibly distance. To draw
a deeper forest, one could perceive objects as far away as more densely packed by
drawing denser forest trees in the background.

Linear perspective could also be used to portray. More depth in the painting. Linear
perspective is the use of parallel lines that appear to converge distance. The more
the lines converge, the greater their perceived distance. For example, a river slowly
narrowing down would be able to create more depth. Other monecular cues also
include light and shadow and relative height. Although all monecular cues can help
with depth perception not all have to be used with a drawing. Even one monecular
cue can help a simple canvas become a depth painted masterpiece.