Perspective with Six Vanishing Points - Civil Engineering an Alternative Method
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Perspective Lesson 2: Three-Dimensional Form
Perspective Lesson 2: Three-Dimensional Form Perspective Lesson 2: Three-Dimensional Drawing: Cubes, Cones, Columns, and More Materials Needed: • Paper • Pencils • Erasers • Rulers Goal of this Tutorial: Students should be able to draw at least one of these three-dimensional forms step-by- step. These forms will be the foundation of doing any work in realistic drawings for art, diagrams, science, ect. Vocabulary includes Picture Plane, Preparation Required: Making sure you can easily follow the step-by-step guides on how to draw a cube, column, cone, via the instructions at the back of this tutorial. “…any object, no matter how complicated…is made up of a sphere, a cube, a cone, a cylinder, or some combination of these forms.” -The Famous Artists Course, Chapter 2: Form-the Basis of Drawing1 Tutor: Thus far, we’ve learned how to use OiLS to draw objects we are looking at. What are OiLS again? Today, we’re going to look at how to draw things from imagination that look three-dimensional, but they’re still on a flat sheet of paper. The technical term for the surface of the paper is the “Picture Plane”. It’s like an imaginary window you’re looking through to see the scene you’re going to create. When you go to an art museum, you’re looking through the window of the “picture planes” into the various worlds the artists created for you to glimpse. But first, we have to create shapes that look like they are three dimensional, and do that, we have to be a little tricky. -
Ultrawide Field of View by Curvilinear Projection Methods
Journal of WSCG ISSN 1213-6972 http://www.wscg.eu Vol.28, No.1-2, 2020 Ultrawide Field of View by Curvilinear Projection Methods Jonah Napieralla Veronica Sundstedt Blekinge Institute of Blekinge Institute of Technology Technology Valhallav. 1 Valhallav. 1 SE-371 79 Karlskrona, SE-371 79 Karlskrona, Sweden Sweden [email protected] [email protected] (a) Perspective (b) Panini (c) Stereographic Figure 1: One view, rendered at 170 degrees of field of view using different projection methods (a, b, c). Scenery provided by FALL Studios. ABSTRACT The rectilinear Perspective projection produces natural-looking results on the condition that the degree of field of view (FoV) is narrow, as raising it causes an exponential increase in visual distortion. Curvilinear perspective projection methods that counter this issue exist in photography, but unlike the rectilinear Perspective projection, these are neither used nor technically documented in computer graphics. This paper contributes by presenting results from a perceptual experiment comparing the rectilinear Perspective projection method to the curvilinear Panini and Stereographic projection methods. These are commonly used with wide-angle lenses in photography and have been digitally recreated for use in computer graphics. The experiment shows a clear preference for the two curvilinear projection methods at high degrees of FoV, as not a single participant prefers the rectilinear Perspective projection at degrees of FoV approaching the human breadth of vision. Keywords Computer graphics, Perception, Human computer interaction (HCI), Graphical projection methods, Field of view, Perspective, Panini, Stereographic, Rectilinear, Curvilinear. 1 INTRODUCTION creases, it experiences increasing amounts of distortion that leads to the rendition eventually becoming unrec- The rectilinear Perspective projection method has al- ognizable [Yan08], as demonstrated in Figure 2. -
The Encounter of the Emblematic Tradition with Optics the Anamorphic Elephant of Simon Vouet
Nuncius 31 (2016) 288–331 brill.com/nun The Encounter of the Emblematic Tradition with Optics The Anamorphic Elephant of Simon Vouet Susana Gómez López* Faculty of Philosophy, Complutense University, Madrid, Spain [email protected] Abstract In his excellent work Anamorphoses ou perspectives curieuses (1955), Baltrusaitis con- cluded the chapter on catoptric anamorphosis with an allusion to the small engraving by Hans Tröschel (1585–1628) after Simon Vouet’s drawing Eight satyrs observing an ele- phantreflectedonacylinder, the first known representation of a cylindrical anamorpho- sis made in Europe. This paper explores the Baroque intellectual and artistic context in which Vouet made his drawing, attempting to answer two central sets of questions. Firstly, why did Vouet make this image? For what purpose did he ideate such a curi- ous image? Was it commissioned or did Vouet intend to offer it to someone? And if so, to whom? A reconstruction of this story leads me to conclude that the cylindrical anamorphosis was conceived as an emblem for Prince Maurice of Savoy. Secondly, how did what was originally the project for a sophisticated emblem give rise in Paris, after the return of Vouet from Italy in 1627, to the geometrical study of catoptrical anamor- phosis? Through the study of this case, I hope to show that in early modern science the emblematic tradition was not only linked to natural history, but that insofar as it was a central feature of Baroque culture, it seeped into other branches of scientific inquiry, in this case the development of catoptrical anamorphosis. Vouet’s image is also a good example of how the visual and artistic poetics of the baroque were closely linked – to the point of being inseparable – with the scientific developments of the period. -
1 Extended Perspective System José Correia, Luís Romão Faculty of Architecture, Technical University of Lisbon, Portugal Abstract
1 Extended Perspective System José Correia, Luís Romão Faculty of Architecture, Technical University of Lisbon, Portugal Abstract. This paper presents a new system of graphical representation, which has been given a provisional name: Extended Perspective System - EPS. It results from a systemic approach to the issue of perspective, sustained by several years of academic research and pedagogical experience with architecture students. The EPS aims to be a global and unified perspective system, gathering the current autonomous perspective systems and turning them into particular states of a broader conceptual framework. Through the use of in-built specific operations, which become particularly effective in a computational environment, the EPS creates and contains an unlimited set of in-between new states, which can also be considered legitimate and particular perspective systems. Considerations of its potential role in architectural descriptive drawing are discussed. Keywords. Linear perspective; curvilinear perspective; graphical representation; conceptual drawing; visual perception. Introduction EPS analysis and evaluation are the main issues of an ongoing Ph.D. research, which early progresses have been already the subject of a poster presentation (Correia, 2005), available at the web (home.fa.utl.pt/~correia/curv_persp_caad.pdf). Since then, this system has been conceptually improved and is now ready to give rise to a computational implementation, as result of a team project in a collaborative academic context. Priority is being given to the field of architectural drawing, due to one of the major virtues of the EPS: an ability to improve the representation of space and objects within large fields-of-view. Architectural descriptive representation, from conceptual drawings to final presentation depictions, is supported on geometric systems that mainly address, alternately, the visual appearance or the shape identity of objects, namely: perspective, axonometric and orthogonal views. -
Guidelines for Drawing Immersive Panoramas in Equirectangular Perspective
Guidelines for Drawing Immersive Panoramas in Equirectangular Perspective António Araújo Universidade Aberta (UAb) R. da Escola Politécnica, 141-147 Lisbon, Portugal 1269-001 Centro de Matemática, Aplicações Fundamentais e Investigação Operacional (CMAF-CIO) Faculdade de Ciências da Universidade de Lisboa Lisbon, Portugal Research Centre for Arts and Communication, Universidade Aberta (CIAC-UAb) Lisbon, Portugal [email protected] ABSTRACT 1 INTRODUCTION Virtual Reality (VR) Panoramas work by interactively creating im- Virtual Reality panoramas are increasingly popular in social media. mersive anamorphoses from spherical perspectives. These pano- Facebook, Google, and Flickr all provide relatively easy ways for ramas are usually photographic but a growing number of artists the user to upload his own 360 degree photographic panoramas and are making hand-drawn equirectangular perspectives in order to share them as VR experiences, as long as he has the right equipment. visualize them as VR panoramas. This is a practice with both artistic The image is uploaded as an equirectangular perspective picture and didactic interest. However, these drawings are usually done by and the platform’s rendering software provides the VR experience, trial-and-error, with ad-hoc measurements and interpolation of pre- by monitoring the direction of view of the user’s mobile phone computed grids, a process with considerable limitations. We develop or headset and displaying at each instant a plane perspective - in in this work the analytic tools for plotting great circles, straight fact a conical anamorphosis - of a certain FOV from within the line images and their vanishing points, and then provide guidelines total picture. Although these panorama viewers were intended as for achieving these constructions in good approximation without a photographic display, some artists have chosen to subvert them computer calculations, through descriptive geometry diagrams that to display drawn panoramas instead. -
A New Perspective in Perspective New Technique Debating Old Hand-Drawing Perspective Methods Taught in Schools of Architecture
American Journal of Engineering, Science and Technology (AJEST) Volume 7, 2021 A New Perspective in Perspective New Technique Debating Old Hand-Drawing Perspective Methods Taught in Schools of Architecture Yasser O. El-Gammal, Saudi Arabia Abstract This paper introduces a new technique in hand-drawing perspective that is more convenient for students, instructors, and architectural design professionals - than the difficulties associated with old hand drawing methods taught in schools of architecture. The paper starts with an overview exploring origins and fundamental concepts of perspective drawing in an attempt to find a better approach in perspective drawing by investigating the works of ancient artists and painters, Afterwards; The paper proceeds with debating older perspective drawing methods taught in schools of architecture through exploring both students and instructors opinions about disadvantages of the old methods, and the recent trends in teaching perspective drawing. At the end, the paper introduces the concept of the suggested new method, its relationship with the magnification factor option in the AutoCAD universe, and its advantages, together with some early experimentation Keywords: Perspective Sketching, Perspective Drawing Method, Perspective Drawing Techniques PROBLEM Students learning perspective hand drawing in schools of architecture find old drawing methods very tedious, time consuming, and end up with unsatisfactory results, not to mention the difficulty they experience when setting the building perspective scene measurements into scale, and from within too many drawing construction lines. Although both undergraduates and architects nowadays are heavily depending on 3Dimensional computer software for developing accurate perspective scenes; There will always still the need for using perspective hand-drawing; Since every architectural concept starts with a hand-drawn sketch. -
Exploiting Analysis History to Support Collaborative Data Analysis
Graphics Interface Conference 2015, 3–5 June, Halifax, Nova Scotia, Canada Exploiting Analysis History to Support Collaborative Data Analysis Ali Sarvghad* and Melanie Tory* University of Victoria challenge of the ‘hand-off’, where work started by one ABSTRACT collaborator is continued by another; here the second person needs Coordination is critical in distributed collaborative analysis of to learn what has been already done and then choose which multidimensional data. Collaborating analysts need to understand aspects to investigate next. Gaining a good understanding of this what each person has done and what avenues of analysis remain past work is critical to ensuring effective coordination and uninvestigated in order to effectively coordinate their efforts. minimizing duplicate effort. For example, imagine that Mary has Although visualization history has the potential to communicate begun evaluating business performance by exploring sales data. such information, common history representations typically show She has looked at dimensions ‘Sales’, ‘Profit’, ‘Margin’ and sequential lists of past work, making it difficult to understand the ‘Product Category’ for interesting patterns and/or outliers. analytic coverage of the data dimension space (i.e. which data Following this initial analysis, she has passed the task to her dimensions have been investigated and in what combinations). colleague Joe to continue. To avoid duplicating Mary’s work and This makes it difficult for collaborating analysts to plan their next to evaluate business performance from all possible angles, Joe steps, particularly when the number of dimensions is large and needs to know what Mary has investigated and what other team members are distributed. We introduce the notion of avenues remain. -
The Historiography of Perspective and Reflexy-Const in Netherlandish
The Historiography of Perspective and Reflexy-Const in Netherlandish Art Sven Dupré Introduction In The Heritage of Apelles Ernst Gombrich famously drew a distinction between art North and South of the Alps along optical lines. Painters in fifteenth-century Florence, such as Domenico Veneziano, used different optical features than their contemporaries in Bruges, the likes of Jan Van Eyck, to create the illusion of space. Gombrich commented: „We all associate Florentine art with the development of central perspective, and thus with the mathematical method of revealing form in ambient light. The other aspect of optical theory, the reaction of light to various surfaces, was first explored in modern times by painters North of the Alps. It was there that the mastery of lustre, sparkle and glitter was first achieved, permitting the artist to convey the peculiar character of materials. Indeed, for a time, during the first decades of the fifteenth century, the two schools of painting appeared thus to have divided the kingdom of appearances between them.‟1 While Italian painters of the fifteenth century used perspective, Netherlandish artists studied and painted the reflection of light from surfaces of different textures and materials to create the illusion of space. For Gombrich, the point of contact between North and South was Leonardo da Vinci, „the greatest explorer of natural appearances‟, who must have been „a keen student of Northern painting‟.2 Here I am less interested in Gombrich‟s geography of optics, but more in how his juxtaposition of perspective and painterly light reflects and complicates the historiography of perspective. For reasons which fall outside the scope of this paper, since the seminal work of 1 Erwin Panofsky linear perspective has become a locus classicus of the study of artistic practice and science, and the history of perspective, which Panofsky in Die Perspektive als symbolische Form (1927) disconnected from optics, a field of research of its own, independent from the history of science and the history of art. -
Mathematics, Philosophy, and the "Real World"
Topic “Pure intellectual stimulation that can be popped into Science Subtopic the [audio or video player] anytime.” & Mathematics Mathematics —Harvard Magazine Mathematics, Philosophy, and the “Real World” “Real the and Philosophy, Mathematics, “Passionate, erudite, living legend lecturers. Academia’s best lecturers are being captured on tape.” Mathematics, Philosophy, —The Los Angeles Times and the “Real World” “A serious force in American education.” —The Wall Street Journal Course Guidebook Professor Judith V. Grabiner Pitzer College Professor Judith V. Grabiner is the Flora Sanborn Pitzer Professor of Mathematics at Pitzer College, where she has taught for more than 20 years. Her acclaimed teaching style, which focuses on the fun in mathematics, has won her numerous awards. These include the Mathematical Association of America’s Deborah and Franklin Tepper Haimo Award for Distinguished College or University Teaching of Mathematics—one of the most prestigious mathematics awards in the United States. THE GREAT COURSES® Corporate Headquarters 4840 Westfields Boulevard, Suite 500 Chantilly, VA 20151-2299 Guidebook USA Phone: 1-800-832-2412 www.thegreatcourses.com Cover Image: © marekuliasz/Shutterstock. Course No. 1440 © 2009 The Teaching Company. PB1440A PUBLISHED BY: THE GREAT COURSES Corporate Headquarters 4840 Westfi elds Boulevard, Suite 500 Chantilly, Virginia 20151-2299 Phone: 1-800-832-2412 Fax: 703-378-3819 www.thegreatcourses.com Copyright © The Teaching Company, 2009 Printed in the United States of America This book is in copyright. All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior written permission of The Teaching Company. -
TME Volume 6, Number 3
The Mathematics Enthusiast Volume 6 Number 3 Article 18 7-2009 TME Volume 6, Number 3 Follow this and additional works at: https://scholarworks.umt.edu/tme Part of the Mathematics Commons Let us know how access to this document benefits ou.y Recommended Citation (2009) "TME Volume 6, Number 3," The Mathematics Enthusiast: Vol. 6 : No. 3 , Article 18. Available at: https://scholarworks.umt.edu/tme/vol6/iss3/18 This Full Volume is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in The Mathematics Enthusiast by an authorized editor of ScholarWorks at University of Montana. For more information, please contact [email protected]. TMME, vol6, no.3, p. 295 THE JOURNAL (WHEEL) KEEPS ON TURNING Bharath Sriraman The University of Montana The title of this editorial is a spinoff on the opening lyrics of a famous Lynyrd Skynyrd song (fill in the blank: Sweet Home__________). When the song came out in the 70’s the popular media misunderstood the song and took some of its lyrics to mean support for the (infamous) George Wallace’s governorship of Alabama, when in fact the band sarcastically boo’ed his segregative policies that scarred the South. The song goes In Birmingham, they love the governor (boo boo boo) Now we all did what we could do Now Watergate does not bother me Does your conscience bother you? These lines bring me to the theme of this editorial, which is namely: (1) What does it take to keep the journal’s wheel turning (running, moving, progressing), and (2) “Does your conscience bother you?” Issue #3 brings volume 6 for the year 2009 of the journal to an end. -
Early Sources Informing Leon Battista Alberti's De Pictura
UNIVERSITY OF CALIFORNIA Los Angeles Alberti Before Florence: Early Sources Informing Leon Battista Alberti’s De Pictura A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Peter Francis Weller 2014 © Copyright by Peter Francis Weller 2014 ABSTRACT OF THE DISSERTATION Alberti Before Florence: Early Sources Informing Leon Battista Alberti’s De Pictura By Peter Francis Weller Doctor of Philosophy in Art History University of California, Los Angeles, 2014 Professor Charlene Villaseñor Black, Chair De pictura by Leon Battista Alberti (1404?-1472) is the earliest surviving treatise on visual art written in humanist Latin by an ostensible practitioner of painting. The book represents a definitive moment of cohesion between the two most conspicuous cultural developments of the early Renaissance, namely, humanism and the visual arts. This dissertation reconstructs the intellectual and visual environments in which Alberti moved before he entered Florence in the curia of Pope Eugenius IV in 1434, one year before the recorded date of completion of De pictura. For the two decades prior to his arrival in Florence, from 1414 to 1434, Alberti resided in Padua, Bologna, and Rome. Examination of specific textual and visual material in those cities – sources germane to Alberti’s humanist and visual development, and thus to the ideas put forth in De pictura – has been insubstantial. This dissertation will therefore present an investigation into the sources available to Alberti in Padua, Bologna and Rome, and will argue that this material helped to shape the prescriptions in Alberti’s canonical Renaissance tract. By more fully accounting for his intellectual and artistic progression before his arrival in Florence, this forensic reconstruction aims to fill a gap in our knowledge of Alberti’s formative years and thereby underline impact of his early career upon his development as an art theorist. -
Temporally-Smooth Antialiasing and Lens Distortion with Rasterization Map
Temporally-smooth Antialiasing and Lens Distortion with Rasterization Map Jakub Maximilian Fober October 20, 2020 ∗ (a) Half-space (b) Barycentric (c) Textured Figure 1: Rasterization example in rectilinear perspective with RMAA. Abstract Current GPU rasterization procedure is limited to narrow views in rectilinear perspective. While industries demand curvilinear perspective in wide-angle views, like Virtual Reality and Virtual Film Production indus- try. This paper delivers new rasterization method using industry-standard STMaps. Additionally new antialiasing rasterization method is proposed, which outperforms MSAA in both quality and performance. It is an im- provement upon previous solutions found in paper Perspective picture from Visual Sphere by yours truly. arXiv:2010.04077v2 [cs.GR] 18 Oct 2020 [email protected] ∗https://maxfober.space ∗https://orcid.org/0000-0003-0414-4223 ∗ 1 1 Introduction This work provides an improvement upon Perspective picture from Visual Sphere. A new approach to image rasterization paper.3 It simplies rasterization algo- rithm and presents new improved anti-aliasing technique applicable to rectilin- ear 3D pipeline. Presented solution for non-linear and aliasing-free rasterization comes in front of great demand in industries like Virtual Film Production, Virtual Reality, In-camera Special-Eects, Lens-matched Real-time Graphics and more. It is highly parallel solution applicable for graphics hardware integration. Previously to achieve curvilinear rasterization and aliasing-free picture for real-time graphics, extensive post processing had to be performed. Such result was achieved through multi-view compositing, post-processing and/or multi- sampling. Here nal pixel is produced by the rasterization algorithm with no post-processing. The product is a real-time picture with unlimited distortion, free of aliasing artifacts.