Dynamic Anamorphosis
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CHAPTER 6 PICTORIAL SKETCHING 6-1Four Types of Projections
CHAPTER 6 PICTORIAL SKETCHING 6-1Four Types of Projections Types of Projections 6-2 Axonometric Projection As shown in figure below, axonometric projections are classified as isometric projection (all axes equally foreshortened), dimetric projection (two axes equally shortened), and trimetric projection (all three axes foreshortened differently, requiring different scales for each axis). (cont) Figures below show the contrast between an isometric sketch (i.e., drawing) and an isometric projection. The isometric projection is about 25% larger than the isometric projection, but the pictorial value is obviously the same. When you create isometric sketches, you do not always have to make accurate measurements locating each point in the sketch exactly. Instead, keep your sketch in proportion. Isometric pictorials are great for showing piping layouts and structural designs. Step by Step 6.1. Isometric Sketching 6-4 Normal and Inclined Surfaces in Isometric View Making an isometric sketch of an object having normal surfaces is shown in figure below. Notice that all measurements are made parallel to the main edges of the enclosing box – that is, parallel to the isometric axes. (cont) Making an isometric sketch of an object that has inclined surfaces (and oblique edges) is shown below. Notice that inclined surfaces are located by offset, or coordinate measurements along the isometric lines. For example, distances E and F are used to locate the inclined surface M, and distances A and B are used to locate surface N. 6-5 Oblique Surfaces in Isometric View Oblique surfaces in isometric view may be drawn by finding the intersections of the oblique surfaces with isometric planes. -
Catoptric Anamorphosis on Free-Form Reflective Surfaces Francesco Di Paola, Pietro Pedone
7 / 2020 Catoptric Anamorphosis on Free-Form Reflective Surfaces Francesco Di Paola, Pietro Pedone Abstract The study focuses on the definition of a geometric methodology for the use of catoptric anamorphosis in contemporary architecture. The particular projective phenomenon is illustrated, showing typological-geometric properties, responding to mechanisms of light re- flection. It is pointed out that previous experience, over the centuries, employed the technique, relegating its realisation exclusively to reflecting devices realised by simple geometries, on a small scale and almost exclusively for convex mirrors. Wanting to extend the use of the projective phenomenon and experiment with the expressive potential on reflective surfaces of a complex geometric free-form nature, traditional geometric methods limit the design and prior control of the results, thus causing the desired effect to fail. Therefore, a generalisable methodological process of implementation is proposed, defined through the use of algorithmic-parametric procedures, for the determination of deformed images, describing possible subsequent developments. Keywords: anamorphosis, science of representation, generative algorithm, free-form, design. Introduction The study investigates the theme of anamorphosis, a 17th The resulting applications require mastery in the use of the century neologism, from the Greek ἀναμόρϕωσις “rifor- various techniques of the Science of Representation aimed mazione”, “reformation”, derivation of ἀναμορϕόω “to at the formulation of the rule for the “deformation” and form again”. “regeneration” of represented images [Di Paola, Inzerillo, It is an original and curious geometric procedure through Santagati 2016]. which it is possible to represent figures on surfaces, mak- There is a particular form of expression, in art and in eve- ing their projections comprehensible only if observed ryday life, of anamorphic optical illusions usually referred from a particular point of view, chosen in advance by the to as “ catoptric “ or “ specular “. -
Technical Drawing School of Art, Design and Architecture Sarah Adeel | Nust – Spring 2011 the Ability to ’Document Imagination’
technical drawing school of art, design and architecture sarah adeel | nust – spring 2011 the ability to ’document imagination’. a mean to design reasoning spring 2011 perspective drawings technical drawing - perspective What is perspective drawing? Perspective originally comes from Latin word per meaning “through” and specere which means “to look.” These are combined to mean “to look through” or “to look at.” Intro to technical drawing perspective technical drawing - perspective What is perspective drawing? The “art definition” of perspective specifically describes creating the appearance of distance into our art. With time, the most typical “art definition” of perspective has evolved into “the technique of representing a three-dimensional image on a two-dimensional Intro to technical drawing surface.” perspective technical drawing - perspective What is perspective drawing? Perspective is about establishing “an eye” in art through which the audience sees. By introducing a sense of depth, space and an extension of reality into art is created, enhancing audience’s participation with it. When things appear more real, they become real to the senses. Intro to technical drawing perspective technical drawing - perspective What are the ingredients of perspective drawing? Any form consists of only three basic things: • it has size or amount • it covers distance • it extends in different directions Intro to technical drawing perspective technical drawing - perspective Everyday examples of perspective drawing Photography is an example of perspectives. In photos scenes are captured having depth, height and distance. Intro to technical drawing perspective technical drawing - perspective What is linear perspective drawing? Linear Perspective: Based on the way the human eye sees the world. -
Orthographic and Perspective Projection—Part 1 Drawing As
I N T R O D U C T I O N T O C O M P U T E R G R A P H I C S I N T R O D U C T I O N T O C O M P U T E R G R A P H I C S From 3D to 2D: Orthographic and Perspective Projection—Part 1 •History • Geometrical Constructions 3D Viewing I • Types of Projection • Projection in Computer Graphics Andries van Dam September 15, 2005 3D Viewing I Andries van Dam September 15, 2005 3D Viewing I 1/38 I N T R O D U C T I O N T O C O M P U T E R G R A P H I C S I N T R O D U C T I O N T O C O M P U T E R G R A P H I C S Drawing as Projection Early Examples of Projection • Plan view (orthographic projection) from Mesopotamia, 2150 BC: earliest known technical • Painting based on mythical tale as told by Pliny the drawing in existence Elder: Corinthian man traces shadow of departing lover Carlbom Fig. 1-1 • Greek vases from late 6th century BC show perspective(!) detail from The Invention of Drawing, 1830: Karl Friedrich • Roman architect Vitruvius published specifications of plan / elevation drawings, perspective. Illustrations Schinkle (Mitchell p.1) for these writings have been lost Andries van Dam September 15, 2005 3D Viewing I 2/38 Andries van Dam September 15, 2005 3D Viewing I 3/38 1 I N T R O D U C T I O N T O C O M P U T E R G R A P H I C S I N T R O D U C T I O N T O C O M P U T E R G R A P H I C S Most Striking Features of Linear Early Perspective Perspective • Ways of invoking three dimensional space: shading • || lines converge (in 1, 2, or 3 axes) to vanishing point suggests rounded, volumetric forms; converging lines suggest spatial depth -
Cylindrical Anamorphic Images –A Digital Method of Generation
ANDRZEJ ZDZIARSKI, MARCIN JONAK* CYLINDRICAL ANAMORPHIC IMAGES –A DIGITAL METHOD OF GENERATION CYFROWA METODA GENEROWANIA ANAMORFICZNYCH OBRAZÓW WALCOWYCH Abstract The aim of this paper is to present a practical construction for some cylindrical anamorphic images. The method is based on the analytic properties of reflective anamorphic image construction – topics which have been discussed in previous papers. This time, the authors deal with the analytical analysis of a transformation that is applied in order to obtain an anamorphic image, and provide an innovative digital notation of the reflective transformation discussed. The analytical model described here allows us to generate a cylindrical anamorphic image of any object that is represented in the form of a set of parametric equations. Some example anamorphic images together with their counter-images reflected in the surface of a cylindrical mirror will be presented here. The method of construction described enables the development of any design project of an anamorphic image in the urban planning environment and within the interiors of public spaces. Keywords: transformation, anamorphic image, visualization of an anamorphic image, reflective cylinder Streszczenie Niniejszy artykuł przedstawia praktyczną metodę konstruowania obrazów anamorficznych w oparciu o własności analityczne dla anamorf refleksyjnych. Praca jest kontynuacją zagadnień związanych z okre- śleniem geometrycznych zasad powstawania obrazów anamorficznych na bazie obrazu rzeczywistego, na- tomiast prezentuje ona analityczne przekształcenie oraz innowacyjny cyfrowy zapis takich obrazów. Tak więc opracowany model analityczny pozwala generować obrazy anamorficzne dowolnych projektowanych obiektów zapisanych w formie równań parametrycznych. Przykładowe anamorfy zaprezentowano wraz z ich obrazami restytuowanymi za pomocą prototypowego zwierciadła walcowego. Powyższe rozwiązania dają możliwość precyzyjnego projektowania obrazów anamorficznych w zurbanizowanej przestrzeni miej- skiej oraz architektonicznych wnętrzach przestrzeni publicznej. -
From 3D to 2D: Orthographic and Perspective Projection—Part 1
INTRODUCTION TO COMPUTER GRAPHICS INTRODUCTION TO COMPUTER GRAPHICS From 3D to 2D: Orthographic and Perspective Projection—Part 1 Drawing as Projection • A painting based on a mythical tale as told by Pliny the Elder: a Corinthian maiden traces the shadow of her departing lover. • History • Geometrical Constructions • Types of Projection • Projection in Computer Graphics detail from The Invention of Drawing, 1830: Karl Friedrich Schinkle (Mitchell p.1) Andries van Dam September 17, 1998 3D Viewing I 1/31 Andries van Dam September 17, 1998 3D Viewing I 2/31 INTRODUCTION TO COMPUTER GRAPHICS INTRODUCTION TO COMPUTER GRAPHICS Early Examples of Projection Early Perspective • Plan from Mesopotamia, 2150BC is earliest • Ways of invoking three dimensional space: known technical drawing in existence. rounded, volumetric forms suggested by shading, spatial depth of room suggested by • Greek vases from late 6th century BC show converging lines. perspective(!) • Not systematic—lines do not converge to a • Vitruvius, a Roman architect published single “vanishing” point. specifications of plan and elevation drawings, and perspective. Illustrations for these writings have been lost. Giotto, Confirmation of the rule of Saint Francis, c.1325 (Kemp p.8) Carlbom Fig. 1-1 Andries van Dam September 17, 1998 3D Viewing I 3/31 Andries van Dam September 17, 1998 3D Viewing I 4/31 INTRODUCTION TO COMPUTER GRAPHICS INTRODUCTION TO COMPUTER GRAPHICS Setting for “Invention” of Brunelleschi Perspective Projection • Invented systematic method of determining perspective projections in early 1400’s. • The Renaissance: new emphasis on Evidence that he created demonstration importance of individual point of view and panels, with specific viewing constraints for interpretation of world, power of complete accuracy of reproduction. -
Fictional Illustration Language with Reference to MC Escher and Istvan
New Trends and Issues Proceedings on Humanities and Social Sciences Volume 4, Issue 11, (2017) 156-163 ISSN : 2547-881 www.prosoc.eu Selected Paper of 6th World Conference on Design and Arts (WCDA 2017), 29 June – 01 July 2017, University of Zagreb, Zagreb – Croatia Fictional Illustration Language with Reference to M. C. Escher and Istvan Orosz Examples Banu Bulduk Turkmen a*, Faculty of Fine Arts, Department of Graphics, Hacettepe University, Ankara 06800, Turkey Suggested Citation: Turkmen, B. B. (2017). Fictional illustration language with reference to M. C. Escher and Istvan Orosz examples. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 4(11), 156-163. Available from: www.prosoc.eu Selection and peer review under responsibility of Prof. Dr. Ayse Cakır Ilhan, Ankara University, Turkey. ©2017 SciencePark Research, Organization & Counseling. All rights reserved. Abstract Alternative approaches in illustration language have constantly been developing in terms of material and technical aspects. Illustration languages also differ in terms of semantics and form. Differences in formal expressions for increasing the effect of the subject on the audience lead to diversity in the illustrations. M. C. Escher’s three-dimensional images to be perceived in a two-dimensional environment, together with mathematical and symmetry-oriented studies and the systematic formed by a numerical structure in its background, are associated with the notion of illustration in terms of fictional meaning. Istvan Orosz used the technique of anamorphosis and made it possible for people to see their perception abilities and visual perception sensitivities in different environments created by him. This study identifies new approaches and illustration languages based on the works of both artists, bringing an alternative proposition to illustration languages in terms of systematic sub-structure and fictional idea sketches. -
'The Hurwitz Singularity'
‘The Hurwitz Singularity’ “In a moment of self-doubt in 2003, (Portrait of Edward VI, 1546) I rushed I wondered into the National Portrait home and within hours was devouring Gallery and tumbled across a strange the works of Escher, Da Vinci and many anamorphic piece by William Scrots more. In a breath I had found ‘brothers’.” 2 The art of anamorphic perspective. Not being the only one perspective has been to admire Hurwitz’s work, Colossal present, in the world of art, Magazine identified that ‘some Tsince the great Leonardo figurative sculptors carve their Da Vinci. It can be said that Da Vinci artworks from unforgiving stone, was the first artist to use anamorphic while others carefully morph the perspective, within the arts, followed human form from soft blocks of clay. by legends such as Hans Holbein Artist Jonty Hurwitz begins with over and Andreas Pozzo, who also used a billion computer calculations before anamorphic perspective within their spending months considering how to art. The two principal techniques materialize his warped ideas using of Anamorphosis are ‘perspective perspex, steel, resin, or copper.’[3] (oblique) and mirror (catoptric).’ [1] The Technique that I will be discussing is most familiar to relate to oblique Anamorphosis. It can be created using Graphic design techniques of perspective and using innovative print and precise design strategies. My first interest in anamorphic perspective was when producing an entry for the ‘Design Museum; 2014 Competition brief: Surprise.’[2] The theme of Surprise led me to discover the astonishment that viewers of anamorphic perspective art felt. Artists such as Jonty Hurwitz, joseph Egan and hunter Thomson; all of which are recognised for their modern approach to Anamorphosis, also created this amazement with their art. -
The Baroque in Games: a Case Study of Remediation
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Spring 2020 The Baroque in Games: A Case Study of Remediation Stephanie Elaine Thornton San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Thornton, Stephanie Elaine, "The Baroque in Games: A Case Study of Remediation" (2020). Master's Theses. 5113. DOI: https://doi.org/10.31979/etd.n9dx-r265 https://scholarworks.sjsu.edu/etd_theses/5113 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. THE BAROQUE IN GAMES: A CASE STUDY OF REMEDIATION A Thesis Presented to The Faculty of the Department of Art History and Visual Culture San José State University In Partial Fulfillment of the Requirements for the Degree Masters of Arts By Stephanie E. Thornton May 2020 © 2020 Stephanie E. Thornton ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled THE BAROQUE IN GAMES: A CASE STUDY OF REMEDIATION by Stephanie E. Thornton APPROVED FOR THE DEPARTMENT OF ART HISTORY AND VISUAL CULTURE SAN JOSÉ STATE UNIVERSITY May 2020 Dore Bowen, Ph.D. Department of Art History and Visual Culture Anthony Raynsford, Ph.D. Department of Art History and Visual Culture Anne Simonson, Ph.D. Emerita Professor, Department of Art History and Visual Culture Christy Junkerman, Ph. D. Emerita Professor, Department of Art History and Visual Culture ABSTRACT THE BAROQUE IN GAMES: A CASE STUDY OF REMEDIATION by Stephanie E. -
Anamorphosis: Optical Games with Perspective’S Playful Parent
Anamorphosis: Optical games with Perspective's Playful Parent Ant´onioAra´ujo∗ Abstract We explore conical anamorphosis in several variations and discuss its various constructions, both physical and diagrammatic. While exploring its playful aspect as a form of optical illusion, we argue against the prevalent perception of anamorphosis as a mere amusing derivative of perspective and defend the exact opposite view|that perspective is the derived concept, consisting of plane anamorphosis under arbitrary limitations and ad-hoc alterations. We show how to define vanishing points in the context of anamorphosis in a way that is valid for all anamorphs of the same set. We make brief observations regarding curvilinear perspectives, binocular anamorphoses, and color anamorphoses. Keywords: conical anamorphosis, optical illusion, perspective, curvilinear perspective, cyclorama, panorama, D¨urermachine, color anamorphosis. Introduction It is a common fallacy to assume that something playful is surely shallow. Conversely, a lack of playfulness is often taken for depth. Consider the split between the common views on anamorphosis and perspective: perspective gets all the serious gigs; it's taught at school, works at the architect's firm. What does anamorphosis do? It plays parlour tricks! What a joker! It even has a rather awkward dictionary definition: Anamorphosis: A distorted projection or drawing which appears normal when viewed from a particular point or with a suitable mirror or lens. (Oxford English Dictionary) ∗This work was supported by FCT - Funda¸c~aopara a Ci^enciae a Tecnologia, projects UID/MAT/04561/2013, UID/Multi/04019/2013. Proceedings of Recreational Mathematics Colloquium v - G4G (Europe), pp. 71{86 72 Anamorphosis: Optical games. -
Perpective Presentation2.Pdf
Projections transform points in n-space to m-space, where m<n. Projection is 'formed' on the view plane (planar geometric projection) rays (projectors) projected from the center of projection pass through each point of the models and intersect projection plane. In 3-D, we map points from 3-space to the projection plane (PP) (image plane) along projectors (viewing rays) emanating from the center of projection (COP): TYPES OF PROJECTION There are two basic types of projections: Perspective – center of projection is located at a finite point in three space Parallel – center of projection is located at infinity, all the projectors are parallel Plane geometric projection Parallel Perspective Orthographic Axonometric Oblique Cavalier Cabinet Trimetric Dimetric Single-point Two-point Three-point Isometric PARALLEL PROJECTION • center of projection infinitely far from view plane • projectors will be parallel to each other • need to define the direction of projection (vector) • 3 sub-types Orthographic - direction of projection is normal to view plane Axonometric – constructed by manipulating object using rotations and translations Oblique - direction of projection not normal to view plane • better for drafting / CAD applications ORTHOGRAPHIC PROJECTIONS Orthographic projections are drawings where the projectors, the observer or station point remain parallel to each other and perpendicular to the plane of projection. Orthographic projections are further subdivided into axonom etric projections and multi-view projections. Effective in technical representation of objects AXONOMETRIC The observer is at infinity & the projectors are parallel to each other and perpendicular to the plane of projection. A key feature of axonometric projections is that the object is inclined toward the plane of projection showing all three surfaces in one view. -
Optimize the Placement of Print Advertisement and Signage By
Advances in Social Science, Education and Humanities Research, volume 207 3rd International Conference on Creative Media, Design and Technology (REKA 2018) Optimize The Placement Of Print Advertisement And Signage By Anamorphic Illusion Ho Jie Lin Mohammad Khizal Saat Tetriana Ahmad Fauzi School of the Arts, School of the Arts, School of the Arts, Universiti Sains Malaysia Universiti Sains Malaysia Universiti Sains Malaysia Penang, Malaysia Penang, Malaysia Penang, Malaysia [email protected] [email protected] [email protected] Abstract Print advertisement is a mean to communicate about products, services or ideas which is intended to inform or influence people who received the message that is usually persuasive by nature and paid by the related sponsors. Strategic placement of advertisement and signage is one of the crucial key of effective communication. Brand recognition can be built through a well designed advertising which is strategically placed. A well develop media placement plan can save marketer from unnecessary and wasteful spending. Placement of advertisement and signage is often constrained by the space and structure of place or location. Visual placement is referring to the place in which a message is portrayed and displayed. The limitation includes the structure of building, the size and space of the placement and the viewing perspective of viewers. This research aimed to study anamorphic illusion as a new creative visual language to deliver message in advertisement to the audience. It also explored the relationship between the laws of perspective and the message portraying tactics and styles. With the analysis of the above study, it will develop a new artistic technique to optimize the visibility of message by overcoming the limitation of visual placement.