 The most widely discussed development of Wollheim’s approach is by Robert Hopkins. Hopkins adopts Wollheim’s term “seeing-in” to refer to the kind of visual experience a picture is allegedly designed to produce. He agrees with Peacocke that seeing-in can be defined in terms of experienced resemblance, but he argues that seeing-in is an experience of resemblance in outline shape between the marks on the surface of a picture and the object or arrangement of objects they represent, rather than shape in the two-dimensional visual field (Hopkins 1998a). Outline shape, Hopkins explains, is “a property of things that we regularly perceive, but rarely articulate” (1998b: §6), a visible property, but one which is relative to a point of view (unlike colour, for example). In fact it appears to be the same property as Hyman’s occlusion shape, i.e., the 2-D cross-section of the cone of light an object subtends to a point of view (see above  §1).  Unlike Peacocke’s concept of the shape of a region in a spectator’s visual field, it is not defined subjectively, in terms of the experience of a spectator, but objectively, purely in terms of projective geometry. And since seeing-in can be defined in terms of outline shape, so can depiction: