This is a thesis without an absolute standard. From the characteristics of the grating material, there are three rules to be followed. These three laws are mutually causal.
First, the law of thick and thin. If you want a strong three-dimensional effect, use a thick grating. If you want a three-dimensional feeling, use a thin grating. Do you want to weaken the three-dimensional sense? Is the stereoscopic effect not as strong as possible? No, the stereoscopic effect is the best, too strong to be distorted, and uncomfortable. Too weak, there is no sense of three-dimensionality. If the drawing technique is not high, can a thick grating enhance the stereoscopic effect? No. The stereoscopic effect is set when the picture is made. How big is the setting, and the grating can't make up for it. Different gratings should set the corresponding values, and should not exceed the reasonable display range of the grating, otherwise the picture will be uncomfortable.
Second, the law of size. Small paintings use thin gratings and large paintings use thick gratings. Generally, PET materials are less than 1.5 mm thick. This material is currently the most stable, in the form of a sheet, and the width is generally less than 1 meter. The largest domestic grating is 2 meters × 3 meters, suitable for large paintings from 0.4 meters × 0.6 meters to 0.8 meters × 1.2 meters. This type of grating is generally a PS material and is not too stable. The third type is a film grating made of PET material, which can be used without any size limitation, usually 1.2 m × 100 m.
Third, the law of far and near. The stronger the stereoscopic effect, the farther the viewing distance is, the closer the stereoscopic effect is, the closer the viewing distance is. In other words, the bigger the painting, the stronger the stereoscopic effect is, and the thicker grating can be used to look far. Smaller paintings do not require such a strong three-dimensional effect, and thin gratings can be used to prevent eye dizziness.
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