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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 “. -
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. -
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. -
Constructing 3D Perspective Anamorphosis Via Surface Projection
Bridges 2018 Conference Proceedings Constructing 3D Perspective Anamorphosis via Surface Projection Tiffany C. Inglis D2L, Waterloo, ON, Canada; [email protected] Abstract 3D perspective anamorphoses, as defined in this paper, are 3D objects that create anamorphic illusions when viewed from a particular perspective. We present an algorithm of constructing 3D perspective anamorphoses by projecting onto surfaces. Introduction An anamorphosis is an object that looks distorted unless viewed in a special way. The method of distortion characterizes two main categories of anamorphic illusions: perspective (viewed from a particular perspec- tive) and mirror (viewed through a mirror). The object of distortion also falls into two types: 2D images and 3D models. Figure 1 shows an example from each category. Odeith’s [3] and Orosz’s [4] work are both 2D anamorphoses since they are 2D drawings that “come to life” (either by appearing 3D or revealing hid- den images) when viewed from a certain angle or through a mirror. 3D anamorphoses include Hamaekers’s sculpture [5] depicting an impossible triangle with curved edges, and De Comite’s´ sculpture [1] also using curved edges to create the illusion of a polygonal structure in the spherical mirror. A 2D anamorphosis is essentially an image projected onto some surface either via perspective projection or mirror reflection. For simple surfaces and mirrors, the design can be drawn manually using distorted grids. With more complex inputs, dedicated software such as Anamorph Me! [2] can automatically apply the necessary distortions. An artist may also use a projector in combination with projection mapping software to directly project their designs onto surfaces with complex geometry. -
Visual Mathematics
25/01/2017 Visual Mathematics http://home.gwu.edu/~robinson/vm/visual.html Go MAY 29 captures 9 May 04 23 Mar 16 2003 Visual Mathematics The official public web page for Math 80110 : Visual Mathematics A Dean's Seminar for Freshmen (This page remains: currently under construction!) Recommended Visual Math Software: Fractint: http://spanky.triumf.ca/www/fractint/fractint.html The classic PC fractal program.Try Winfract MS Windows version. Winfeed: http://math.exeter.edu/rparris/winfeed.html A great program that draws many types of fractals Tyler:http://www.superliminal.com/geometry/tyler/Tyler.htm, Draws regular and semiregular tessellations, and more. Web based applet is also available as java appliacation. MusiNum: http://www.mns.brain.riken.jp/~kinderma/musinum/musinum.html: Fractal music software. Jeff Week's amazing software including Kali and Kaleidotile : http://geometrygames.org/ Tess32: http://www.soft411.com/company/PedagoguerySoftwareInc/Tess.htm Pretzangles: http://www.pretzangles.com/index.html Anamorph Me!: http://www.anamorphosis.com (see also http://myweb.tiscali.co.uk/artofanamorphosis/AnamorphMeREADME.txt ) QuasiG: http://condellpark.com/kd/quasig.htm A program for drawing Penrose tilings Boids: http://www.navgen.com/3d_boids/ Simulation of bird flocking behavior Life32: http://psoup.math.wisc.edu/Life32.html Fully featured program to play Conway's game of Life Life http://www.robmaeder.com/projects/code/life.php Easy & basic program to play Conway's game of Life Artists & Mathematicians: Thomas Banchoff: http://www.math.brown.edu/~banchoff/ Dror BarNatan: http://www.math.toronto.edu/~drorbn/Gallery/index.html Paul Bourke: http://astronomy.swin.edu.au/~pbourke/ Brent Collins: http://www.mi.sanu.ac.yu/vismath/col/col1.htm Santiago Calatrava: http://www.calatrava.com/ Bill Casselman: http://www.math.ubc.ca/~cass/ H. -
Universidad Autónoma De Nuevo León Facultad De Artes Visuales División De Estudios De Posgrado
UNIVERSIDAD AUTÓNOMA DE NUEVO LEÓN FACULTAD DE ARTES VISUALES DIVISIÓN DE ESTUDIOS DE POSGRADO ANÁLISIS ESTÉTICO DE LA OBRA “FLOWERS OF LEARNING” DE ROMAN VEROSTKO COMO REPRESENTANTE DEL ARTE ALGORÍTMICO Por PAUL FIDEL MARTÍNEZ MARTÍNEZ Director de Tesis M.A. José Alfredo Herrera Pescador Como requisito parcial para obtener el Grado de Maestría en Artes con Especialidad en Educación en el Arte Monterrey, N.L. Junio de 2008 1 INDICE DE CONTENIDOS INDICE DE CONTENIDOS 2 INTRODUCCIÓN 4 CAPÍTULO I 8 Naturaleza y Dimensión del tema de investigación 8 1.1 Marco Contextual 8 1.2 Planteamiento del Problema 11 1.3 Objetivos de la investigación 12 1.3.1 Objetivo General 13 1.3.2 Objetivos específicos 13 1.4 Hipótesis 13 1.5 Justificación 14 1.6 Metodología 14 CAPÍTULO II 16 Precedentes 16 2.1 La Función Estética del Arte a partir de las Vanguardias del S.XX 16 2.2 Las Vanguardias 23 2.2.1 El cubismo 25 2.2.2 Futurismo 27 2.2.3 Dadaísmo 30 2.2.5. Fluxus 36 2.3. Arte digital 37 CAPÍTULO III 43 ESTETICA DIGITAL 43 3.1 Perspectivas de la estética digital 43 3.2 Estética de la percepción 47 3.3 Estética Generativa y Estética Participativa 50 2 CAPITULO IV 55 ARTE ALGORÍTMICO 55 4. 1 CONCEPTO DE ALGORITMO 55 4.1.1 ¿Qué es un Algoritmo? 55 4.1.2 La máquina de Turing 61 4.1.3 Especificación de algoritmos 63 4.1.4 Implementación de algoritmos 65 4.1.5 Clases de algoritmos 67 4. -
Numerical Anamorphosis: an Artistic Exploration
Numerical Anamorphosis: an Artistic Exploration FRANCESCO DE COMITE and LAURENT GRISONI CRIStAL laboratory University of Sciences of Lille, France [francesco.de-comite/laurent.grisoni]@univ-lille1.fr Anamorphoses have been know for centuries, as distorted images needing —Consider a non-flat geometry: how to compute the image to be to be seen in a mirror from a special point of view in order to see the non- seen on this screen? The computation of distorted images will be distorted image. During Renaissance, they have been associated to mathe- the subject of section 4. matical techniques for drawing such pictures efficiently, on specific mirror —Consider a visual message we want to share: what geometries shapes (in the case of cylindrical or conical mirrors). We can expect in the can we define, that will convey this information? The definition next years a strong interest in such type of images, because of the emergence and computation of distorted three-dimensional objects will be of various contexts and physical supports for image visualization (soft or de- studied in sections 5.1 and 5.2. formable screens, lightmapping, projection of images on dynamic objects, etc...). Solving the numerical problem of anamorphosis in the general case The same questions arose at the time of Renaissance, when belongs to the same class of problems as when the trend is to control im- artists wanted to know how to paint three-dimensional scenes on age deformation as long as image is seen projected on, or reflected by, a flat canvasses, and discovered the laws of perspective. Some of non-planar surface, which can be of arbitrary shape. -
The Cartesian Question and the Evolution of Anamorphosis
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wits Institutional Repository on DSPACE Natalie Edwards 0306743A MA Digital Arts Wits School of Digital Arts: University of the Witwatersrand Theory Supervision: Tegan Bristow Technical Supervision: Mileta Postic Title: Negotiating Virtual Spaces: Exploring the collision of Real and Digital Space in Human Perception 1 Table of Contents: 1. Introduction 2. The Cartesian Question and the Evolution of Anamorphosis 3. Perspective Representation from Antiquity to the Renaissance 4. Finding your feet in the virtual realm 5. Digitally Mapping an Analogue World 6. The world through the looking glass 7. Performing the Digital 8. Recalling the history of an everyday space 9. Conclusions 2 List of Figures: Figure. 1. De la Franscesca, Piero. Brera Altarpiece/ The Virgin and Child, with Federigo da Monte-Feltro Kneeling, 1470-1475. Figure. 2. Holbein, Hans. The Ambassadors. 1533. National Gallery, London. Figure. 3. Pozzo, Andrea. Sant'Ignazio: ceiling trompe-l'oeil fresco, 1684. Figure. 4. Pozzo, Andrea. Sant'Ignazio: ceiling trompe-l'oeil fresco, 1684. Figure. 5. Andrea Pozzo‟s fresco in the barrel vault at the church of Sant'Ignazio, 1684 Figure. 6. Orosz, Istvan. Anamorph with column 2, 2007. Figure. 7. Lazzarini, Robert. Skulls, 2000. Figure.8. Lazzarini, Robert. Payphone, 2002. Figure. 9. 1- 9.3 Kentridge, William. What will come, (has already come), 2007. Figure. 10. Valbuena, Pablo. Para sites, 2009. Figure. 11. Valbuena, Pablo. Puntos de fuga (vanishing points), 2008. Figure. 12.a-c. Edwards, Natalie. Process shots, 2011. 3 Figure. 13. Edwards, Natalie. Stills from the anamorphically warped pan through the room, rendered from the viewer‟s perspectival camera, 2011. -
Anamorphic Images on the Historical Background Along with Their
TECHNICAL TRANSACTIONS 1/2017 CZASOPISMO TECHNICZNE 1/2017 ARCHITECUTRE AND URBAN PLANNING DOI: 10.4467/2353737XCT.17.002.6099 Andrzej Zdziarski Marcin Jonak ([email protected]) Division of Descriptive Geometry, Technical Drawing & Engineering Graphics, Cracow University of Technology Anamorphic images on the historical background along with their classification and some selected examples Obrazy anamorficzne na tle historycznym wraz z klasyfikacją i wybranymi przykładami Abstract Art based on optical illusions has accompanied the everyday life of a human being since ancient times, until today. Primarily, it played a specific role as an artistic game and manifested the artists’ own mastery, while often playing the serviceable role of an artistic advertisement. This study presents a detailed definition of anamorphic images together with their precise classification, and provides a description of the methods used for their construction. The problems discussed here have been presented on a historical background. The examples of particularly chosen anamorphic images have been presented together with their visualised images. The theoretical background, how one can create such anamorphic images, provides the basis for further design and development of anamorphic images to be created both in an urban space of a town, and in the interiors of public use.. Keywords: transformation, anamorphic image, visualisation of anamorphic images, reflective surfaces Streszczenie Sztuka oparta na złudzeniu optycznym istniała od starożytności. Przede wszystkim jako swoista zabawa artystów manifestująca własne mistrzostwo, a często także w roli usługowej, pełniąc zadanie reklamy. Ni- niejsze opracowanie obejmuje precyzyjną definicję anamorfoz wraz ze szczegółową klasyfikacją i metoda- mi konstruowania obrazów anamorficznych. Zagadnienia te przedstawiono na tle historycznym. Wybrane przykładowe anamorfy zaprezentowano wraz z ich obrazami zrestytuowanymi. -
Ensino De Geometrias Não-Euclidianas Usando Arte E Matemática
UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ PROGRAMA DE PÓS-GRADUAÇÃO EM ENSINO DE CIÊNCIA E TECNOLOGIA MESTRADO PROFISSIONAL EM ENSINO DE CIÊNCIA E TECNOLOGIA SIMONE SEMMER ENSINO DE GEOMETRIAS NÃO-EUCLIDIANAS USANDO ARTE E MATEMÁTICA DISSERTAÇÃO PONTA GROSSA 2013 SIMONE SEMMER ENSINO DE GEOMETRIAS NÃO-EUCLIDIANAS USANDO ARTE E MATEMÁTICA Dissertação apresentada como requisito parcial à obtenção do título de Mestre em Ensino de Ciência e Tecnologia, do Programa de Pós-Graduação em Ensino de Ciência e Tecnologia da Universidade Tecnológica Federal do Paraná, Campus Ponta Grossa. Área de Concentração: Ciência, Tecnologia e Ensino. Orientador: Profa. Dra. Sani de Carvalho Rutz da Silva. Coorientador: Prof. Dr. Marcos Cesar Danhoni Neves PONTA GROSSA 2013 Ficha catalográfica elaborada pelo Departamento de Biblioteca da Universidade Tecnológica Federal do Paraná, Campus Ponta Grossa n.028/13 S471 Semmer, Simone Ensino de geometrias não-euclidianas usando arte e matemática. / Simone Semmer. -- Ponta Grossa, 2013. 268 f. : il. ; 30 cm. Orientadora: Profa. Dra. Sani de Carvalho Rutz da Silva Co-orientador: Prof. Dr. Marcos Cesar Danhoni Neves Dissertação (Mestrado em Ensino de Ciência e Tecnologia) - Programa de Pós- Graduação em Ensino de Ciência e Tecnologia, Universidade Tecnológica Federal do Paraná. Ponta Grossa), 2013. 1. Geometria não-euclidiana. 2. Anamorfose. 2. Matemática na arte. I. Silva, Sani de Carvalho Rutz da. II. Neves, Marcos Cesar Danhoni. III. Universidade Tecnológica Federal do Paraná, Campus Ponta Grossa. IV. Título. CDD 507 Universidade Tecnológica Federal do Paraná Campus de Ponta Grossa PR Diretoria de Pesquisa e Pós-Graduação UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ PROGRAMA DE PÓS-GRADUAÇÃO EM ENSINO DE CIÊNCIA E TECNOLOGIA FOLHA DE APROVAÇÃO Título de Dissertação No. -
A Simplified Procedure for Anamorphic Sculpture
Manal Helal A simplified procedure for anamorphic sculpture A simplified procedure for anamorphic sculpture Dr. Manal Helal Ayoub Sculpture , Architectural Formation & Restoration Dept., Faculty of Applied Arts, Helwan University, Egypt. Abstract: The research review and analysis the art of anamorphic sculpture as a new kind of Keywords: the common themes of contemporary art in the world by Review its elements - Anamorphic shroud and the pioneers of the this new kind of sculpture Then the conclusions and - anamorphoscope results . These artworks shows 3 dimensional forms that so heavily distorted that - oblique they cannot be perceived without special mirror . A chain of software and programming languages are used in order to build the - catoptric sculpture, using a 3D printer. This work, through the genesis of the idea, the - digital models elaboration of software tools and solutions, and the interaction between the two - 3D printers partners involved, illustrates how fruitful a collaboration between artists and scientists can be. The novelty of this work is represented in the creation of anamorphic 3D digital models, resulting in a tool for artists and sculptor. Paper received 20th of January 2015, Accepted 11th of February 2015 Published 1st of April 2015 Introduction being cylindrical, conical and pyramidal).(2) The word anamorphic is from the Greek "ana" Anamorphic sculptures here are distorted (again) and "morphe" (form). It refers to forms that (sometime) doesn't make any sense sculptures that are so heavily distorted that they .. but, as you put a reflective device i.e. are hard to recognize without the use of a mirror, cylindrical mirror at the middle of the sometimes referred to as an anamorphoscope.