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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 “. -
Communication: International Experience
PEOPLES’ FRIENDSHIP UNIVERSITY OF RUSSIA Institute of World Economy and Business (IWEB) COMMUNICATION: INTERNATIONAL EXPERIENCE Abstracts of the International Conference Moscow, December 3, 2015 Moscow 2016 УДК 316.77:339(063) У т в е р ж д е н о ББК 88.53+65.5 РИС Ученого совета К63 Российского университета дружбы народов Editor-in-Chief – N.P. Gusakov Editing Board: Y.N. Moseikin, E.N. Malyuga, V.M. Matyushok, I.A. Aidrous К63 Коммуникация: международный опыт = Communica- tion: International Experience : сборник статей Междуна- родной конференции. Москва, 3 декабря 2015 г. / под ред. Н. П. Гусакова. – Москва : РУДН, 2016. – 173 с. : ил. The publication includes the scientific articles that explore different as- pects and contemporary trends of the global economy, innovation, communica- tion and linguistics. IWEB is one of the first business schools in Russia, which started MBA program for top managers. Today the Institute is ranked as one of the best ten business schools in Russia and provides students with an opportunity to get a high-quality and prestigious education in the field of international economics, PR, marketing and management. The Institute is working closely with the world known universities and internationally recognized companies in order to improve the scientific and educational standards. Maluyga E.N., Uspehov. N.P. took part in the translation of the arti- cles into the English. ISBN 978-5-209-07680-3 © Коллектив авторов, 2016 © Российский университет дружбы народов, 2016 CONTENT NEW TRENDS IN THE INTEGRATED COMMUNICATIONS ............................................................... 5 Glinskaya I.Y Russia's image in the context of globalisation: features of formation ............................................................................... 5 Gribanova A.V. -
M. Alsaggar, M. Al-Atoum, the Artistic Social and Environmental Dimensions of 3D Street Pavement Art the Artistic Social
YILDIZ JOURNAL OF ART AND DESIGN Volume: 7, Issue: 2, 2020, pp 197- 216 Received Date:04/10/2020 Accepted Date: 30/12/2020 THE ARTISTIC SOCIAL AND ENVIRONMENTAL DIMENSIONS OF 3D STREET PAVEMENT ART 3D SOKAK KALDIRIMININ SANATSAL SOSYAL VE ÇEVRESEL BOYUTLARI SANAT Mowafaq ALSAGGAR*, Monther AL-ATOUM** * Associate Professor. Dr. Mowafaq Alsaggar. Yarmouk University; Faculty of Fine Arts; Department of Plastic Art. Irbid. Jordan. Email: [email protected] ORCID 0000- 0002-2854-2093 ** Prof. Dr. Monther Al-Atoum. Yarmouk University; Faculty of Fine Arts; Department of Plastic Art. Irbid. Jordan. Email: [email protected] ORCID 0000-0002-1093- 7345 Abstract The subject of the study is based on the three-dimensional art of drawing on the ground, also called the art of three-dimensional pavement art, as it attracts audiences for its strangeness and its implementation with techniques based on visual deception, achieving the third dimension, as well as the comical or political sense that dominates these works. The study also aimed to reveal the artistic, aesthetic, social and cultural dimensions of the three-dimensional street pavement art, deriving its importance from the problem arising from the need to identify the artistic and social dimensions in the art of three-dimensional street pavement art within the limits of contemporary arts. The most prominent results of the study were that some artists' works, such as the artist Julian Beever, were affected by political trends that aimed to achieve the principle of the right to live for all of humanity. Artist Kurt Wenner also brought out the issue of genetically modified animals. -
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. -
Stricto Sensu Arquitetura E Urbanismo
UNIVERSIDADE SÃO JUDAS TADEU Programa de Pós-Graduação – Stricto Sensu Arquitetura e Urbanismo NÚRIA MOLENA Grafite. Da transgressão à integração, 1950-2015. ORIENTADOR: Prof. Dr. Fernando Guillermo Vázquez Ramos São Paulo 2015 UNIVERSIDADE SÃO JUDAS TADEU Programa de Pós-Graduação – Stricto Sensu Arquitetura e Urbanismo NÚRIA MOLENA Grafite. Da transgressão à integração, 1950-2015. Dissertação apresentada ao Programa de Pós-Graduação Stricto Sensu em Arquitetura e Urbanismo da Universidade São Judas Tadeu, para obtenção do título de mestra. ORIENTADOR: Prof. Dr. Fernando Guillermo Vázquez Ramos São Paulo 2015 UNIVERSIDADE SÃO JUDAS TADEU Curso de Pós-Graduação – Stricto Sensu Arquitetura e Urbanismo Núria Molena Grafite. Da transgressão à integração, 1950-2015. Dissertação apresentada ao Programa de Pós-Graduação Stricto Sensu em Arquitetura e Urbanismo da Universidade São Judas Tadeu, para obtenção do título de mestra. Aprovada em dezembro de 2015 por: Prof. Dra. Paula de Vincenzo Fidelis Belfort Mattos ________________________ Prof. Dra. Lóris Graldi Rampazzo _____________________________________ Prof. Dr. Fernando Guillermo Vázquez Ramos__________________________ São Paulo 2015 DEDICATÓRIA Dedico esse trabalho ao meu filho Miguel. AGRADECIMENTOS A Universidade São Judas Tadeu, pela bolsa e oportunidade de realizar este curso. Às professoras mestras e amigas Mônica Cristina de Paula e Sandra Vita, pela amizade, orientação, apoio е confiança. À minha coordenadora Dra. Paula de Vincenzo Fidelis Belfort Mattos pela oportunidade е apoio na elaboração desta dissertação. Ao mеυ orientador, pelo emprenho dedicado à elaboração desta dissertação. Ao Maicon Andrade Machado pela cooperação com nosso filho. Agradeço ao Edgard Leite pela ajuda, estímulo e compreensão. Aos meus pais, pelo amor, incentivo е apoio incondicional. RESUMO MOLENA, Núria. -
'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. -
Ephemeral Art Ephemeral Art
Apr–Jun 2008 The Magazine of the International Child Art Foundation Photo: Scott Whitelaw Photo Credit, opposite page: Christo and Jeanne-Claude: The Gates, Central Park, New York City, 1979–2005 April—June 2008 Volume 11, Issue 2, Number 38 Photo: Wolfgang Volz. © Christo and Jeanne-Claude Editor’s Corner Ephemeral Art Ephemeral Art .................................................. 4 5 Where the Sands Blow, Mandalas Go ............. 5 Modernity is the transient, the fleeting, the contingent; it is one half of art, the other being Ephemera in Art ............................................... 6 the eternal and the immovable. Ephemeral Art: Visualizing Time ...................... 8 - Charles Baudelaire (French Poet, 1857) Christo and Jeanne-Claude .......................... 10 Transformational Touching the Ephemeral Moment ................. 13 Dear Readers, Enviromental Art, Page 10 Art from Ice .................................................... 14 Lately it seems as though we are living in a constant state of transition in every corner of our planet. editor writers Interview with LEGO® Sculpture Artist .......... 16 14 Change is in the air; therefore, we have dedicated this Ashfaq Ishaq, Ph. D. Terry Barrett, Ph. D. B. Stephen Carpenter, II managing editor Day of the Dead: Día de Muertos .................. 18 distinctive issue of ChildArt to the Ephemeral Arts. Melissa Chapin Carrie Foix Andrew Crummy As you will soon discover, ephemeral artists “live in assistant editor Vicki Daiello Making Ephemeral Art ................................... 20 the moment.” From Christo and Jeanne-Claude’s B. Stephen Carpenter, II Claire Eike Sheri R. Klein, Ph. D. Clementina Ferrer How to Make a Paper Boat Sculpture ........... 22 environmental works (p.10) to the delicate sand Patricia McKee Carrie Foix Amanda Lichtenwalner Here Today, Gone Tomorrow ......................... 24 mandalas of Tibetan monks (p.5), ephemeral art’s contributing editor Joanna Mawdsley Amanda Lichtenwalner existence is shaped by the effects of time. -
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. -
ART & ADVOCACY Street Art and VARA: the Intersection of Copyright
ART & ADVOCACY May 2016, Volume 22 Street Art and VARA: The Intersection of Copyright and Real Estate by Barry Werbin When New York real estate developers finally demolished the reputation….” crumbling “5Pointz” water meter factory building and its 20-year- old graffiti wall in Queens, NY, in mid-2014, it brought an end to what had become a popular stop for tourists and local art buffs alike. Having purchased the property with the intent to put up a high-rise residential development, eventual destruction of the old factory and its graffiti art wall by the developers was inevitable. Alteration of the graffiti art began in 2013 when the wall was whitewashed over by the developers on the eve of a preliminary injunction hearing before a New York federal district court in a case brought by a group of aerosol artists under the Visual Artists Rights Act, or VARA (Section 106A of the U.S. Copyright Act).1 Real estate owners and developers need to take heed of VARA and the artworks affixed to their property, lest they find themselves in court. http://clancco.com/wp/2013/11/vara-moral-rights-painting-property/ 5Pointz and Street Art Apart from much of the art having been whitewashed over the Over the course of nearly two decades, some 1,500 graffiti and night before, the court declined to grant a preliminary injunction. street artists adorned the abandoned 5Pointz factory with colorful While characterizing the Aerosol Art Center as a “repository of the murals and “tag” flourishes that became a major tourist attraction. largest collection of exterior aerosol art (often also referred to as Known as the “Aerosol Art Center,” the artists had long-time ‘graffiti art’) in the United States,” the court ruled on November permission from the property owner to paint the abandoned 20, 2013, that denial of relief under VARA was warranted because building’s façade, with only some restrictions on the type of street of the “transient nature” of the graffiti based on the artists’ art so as to keep it in good taste. -
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. -
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.