How binocular works?

As often happens in science, practical applications go beyond our theoretical understanding of the underlying principles involved in the phenomenon. Artists employ subtle exaggerations and enhancements of classical perspective to suggest depth perception, to give the viewer a sense of subjective involvement in the picture's visual drama. Excellent examples of this can be found in Michelangelo's drawings with their anatomical "distortions", and in the best superhero comics. As explained in the book, How to Draw Comics the Marvel Way, a fist or a sword coming at the viewer won't have much gut-level visual impact unless it seems to be flying off the page into the viewer's face. This only happens when it's drawn as if the viewer's eye were just inches away from the closest part of it, even if the panel's overall composition suggests a more remote point of view. Thus the fist, or the tip of the sword, will be drawn significantly larger than indicated by correct (monocular) perspective; its exact dimensions will depend on the artist's intuitive judgment. Similarly, the convergence of parallel lines at their various vanishing points throughout a scene will be subtly exaggerated to create a more convincing sense of spacial depth than "correct" (monocular or classical) perspective can offer. In classical perspective, all vanishing points are exiled at a hypothetical ideal "infinity"; with binocular depth perception, vanishing points are brought into the realm of real space we all inhabit.