Selected Courses on Digital Art-UOWM

26 Φεβρουαρίου 2013

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Parallel projection

From Wikipedia, the free encyclopedia
Parallel projections have lines of projection that are parallel both in reality and in the projection plane.[clarification needed]
Parallel projection corresponds to a perspective projection with an infinite focal length (the distance from the image plane to the projection point), or “zoom“.
Within parallel projection there is an ancillary category known as “pictorials”. Pictorials show an image of an object as viewed from a skew direction in order to reveal all three directions (axes) of space in one picture. Because pictorial projections innately contain this distortion, in the rote, drawing instrument for pictorials, some liberties may be taken for economy of effort and best effect.

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[edit]Orthographic projection

Parallel projection corresponds to a perspective projection with a hypothetical viewpoint; i.e. one where the camera lies an infinite distance away from the object and has an infinite focal length, or “zoom”.

The orthographic projection is derived from the principles of descriptive geometry, and is a type of parallel projection where the projection rays are perpendicular to the projection plane.[1] It is the projection type of choice for working drawings.
The term orthographic is also sometimes reserved specifically for depictions of objects where the axis or plane of the object is also parallel with the projection plane (paper on which the Orthographic or parallel projection is drawn.[1]

[edit]Pictorials

[edit]Axonometric projection

Axonometric projection is a type of orthographic projection where the plane or axis of the object depicted is not parallel to the projection plane,[2][3][4] such that multiple sides of an object are visible in the same image.[5] It is further subdivided into three groups: isometricdimetric and trimetric projection, depending on the exact angle at which the view deviates from the orthogonal.[1][4] A typical characteristic of axonometric pictorials is that one axis of space is usually displayed as vertical.

Comparison of several types of graphical projection.

[edit]Isometric projection

In isometric pictorials (for protocols see isometric projection), the most common form of axonometric projection,[3] the direction of viewing is such that the three axes of space appear equally foreshortened, of which the displayed angles among them and also the scale of foreshortening are universally known. However in creating a final, isometric instrument drawing, in most cases a full-size scale, i.e., without using a foreshortening factor, is employed to good effect because the resultant distortion is difficult to perceive.[citation needed]

[edit]Dimetric projection

In dimetric pictorials (for protocols see dimetric projection), the direction of viewing is such that two of the three axes of space appear equally foreshortened, of which the attendant scale and angles of presentation are determined according to the angle of viewing; the scale of the third direction (vertical) is determined separately. Approximations are common in dimetric drawings.

[edit]Trimetric projection

In trimetric pictorials (for protocols see trimetric projection), the direction of viewing is such that all of the three axes of space appear unequally foreshortened. The scale along each of the three axes and the angles among them are determined separately as dictated by the angle of viewing. Approximations in trimetric drawings are common,[clarification needed] and trimetric perspective is seldom used.[4]

[edit]Oblique projection

In oblique projections the parallel projection rays are not perpendicular to the viewing plane as with orthographic projection, but strike the projection plane at an angle other than ninety degrees.[1] In both orthographic and oblique projection, parallel lines in space appear parallel on the projected image. Because of its simplicity, oblique projection is used exclusively for pictorial purposes rather than for formal, working drawings. In an oblique pictorial drawing, the displayed angles among the axes as well as the foreshortening factors (scale) are arbitrary. The distortion created thereby is usually attenuated by aligning one plane of the imaged object to be parallel with the plane of projection thereby creating a true shape, full-size image of the chosen plane. Special types of oblique projections are cavalier projection and cabinet projection.[2]

[edit]Limitations

An example of the limitations of isometric projection. The height difference between the red and blue balls cannot be determined locally.
The Penrose stairs depicts a staircase which seems to ascend (anticlockwise) or descend (clockwise) yet forms a continuous loop.
Objects drawn with parallel projection do not appear larger or smaller as they extend closer to or away from the viewer. While advantageous forarchitectural drawings, where measurements must be taken directly from the image, the result is a perceived distortion, since unlike perspective projection, this is not how our eyes or photography normally work. It also can easily result in situations where depth and altitude are difficult to gauge, as is shown in the illustration to the right.
In this isometric drawing, the blue sphere is two units higher than the red one. However, this difference in elevation is not apparent if one covers the right half of the picture, as the boxes (which serve as clues suggesting height) are then obscured.
This visual ambiguity has been exploited in op art, including “impossible object” drawings. M. C. Escher‘s Waterfall (1961) is a well-known example, in which a channel of water seems to travel unaided along a downward path, only to then paradoxically fall once again as it returns to its source. The water thus appears to disobey the law of conservation of energy.

[edit]See also

gia katerina gian

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File:Impossible staircase.svg

Penrose stairs

From Wikipedia, the free encyclopedia

Penrose stairs.

The Penrose stairs or Penrose steps, also dubbed the impossible staircase, is an impossible object created by Lionel Penrose and his son Roger Penrose.[1] A variation on the Penrose triangle, it is a two-dimensional depiction of a staircase in which the stairs make four 90-degree turns as they ascend or descend yet form a continuous loop, so that a person could climb them forever and never get any higher. This is clearly impossible in three dimensions.
The “continuous staircase” was first presented in an article that the Penroses wrote in 1959, based on the so-called “triangle of Penrose” published by Roger Penrose in the British Journal of Psychology in 1958.[1] M.C. Escher then discovered the Penrose stairs in the following year and made his now famous lithography Klimmen en dalen (Ascending and Descending) in March 1960. Penrose and Escher were informed of each other’s work that same year.[2] Escher developed the theme further in his print Waterval (Waterfall), which appeared in 1961.
In their original article the Penroses noted that “each part of the structure is acceptable as representing a flight of steps but the connexions are such that the picture, as a whole, is inconsistent: the steps continually descend in a clockwise direction.”[3]
The Shepard tone, developed in the 1960s, is a similar illusion in terms of sound.[4][5]

Filed under: Notes — admin @ 08:56
mona lisa

This work seems to be Basquiat’s answer to Warhol’s Dollar Bill andMona Lisa paintings. Basquiat usually paints large fields of colour by applying broad brush strokes with acrylic paint, while drawing and writing in oil stick. This pattern applies to the orange top part of this painting. The portrait at centre, however, has hair, skin and parts of the bust filled-in with repeated oil stick lines. Leonardo’s Mona Lisa seems to grow into the dollar note at top, obscuring what would be the face of George Washington. Art and money are two different currencies, even different worlds, which can be converted only with difficulty. The uncompromising and urgent way the artist spent the money he made is legend. In this painting he lets us know that although he loved money his ultimate faith lay in art.


http://www.dailyartfixx.com/tag/andy-warhol/#

Advanced Photography Workshop in Southern France

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http://www.youtube-nocookie.com/embed/rNmSGgBJsMU

http://www.youtube-nocookie.com/embed/2o3KtSGS3t4

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http://www.youtube-nocookie.com/embed/yJfqq9XFKos http://www.youtube-nocookie.com/embed/K5ljEBkCeMQ http://www.youtube-nocookie.com/embed/HmcADeaiHAcstorytelling http://www.youtube-nocookie.com/embed/D2HF-1xjpP8 http://www.youtube-nocookie.com/embed/hlx-M53dC7MShot at the BMW Museum in Munich, these balls were attached to strings from the ceiling and together they created three dimensional shapes including a car http://www.youtube-nocookie.com/embed/mr7rGLngvVcHeadspace is an interactive robotic artwork with 256 independently moving rods in a matrix some 1.5m by 1.5m. The control system is loaded with 3D scans of 700 school students. Headspace is a variable relief sculpture. Located at Christ Church Grammar School Perth, Western Australia. Artist, Geoffrey Drake-Brockman

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Human Nature

Ars Electronica 2009
Linz, September 3rd – 8th

The Reinvention of Nature
We are entering a new age here on Earth: the Anthropocene. An age definitively characterized by humankind’s massive and irreversible influences on our home planet. Population explosion, climate change, the poisoning of the environment and our venturing into outer space have been the most striking symbols of this development so far.
But to a much more enormous extent, the achievements of genetic engineering and biotechnology are the truly indicative markers of this transition to a new epoch. Now, we’re not only changing our environment; we’re revising the fundamentals of life itself—even our own human life.
Humankind has appropriated the mantle of Creator. Though we just barely understand how this functions, we’re already modifying entire genomes, constructing new organisms, cloning, creating and inventing new life.
We’re using innovative high-tech methods to observe the human brain while it thinks, so that we can now look behind the veil of our consciousness and see how our mechanisms of perception and decision-making capacities are reflected in our neurons. The long-established boundaries segregating nature and culture are breaking down, and we are once again confronted by the question of the essence of humanness and the nature of the human being.
Thirty years after its founding, this globally established festival’s mission remains the same—we are steadfastly dedicated to the pursuit of the curiosity that is so deeply rooted in humankind’s nature, and we continue to intrepidly peer far into the future. Our immediate objective: to once again foment a fruitful, fascinating dialog at the interface of art, technology and society.
The new Ars Electronica Center that debuted at the outset of this year plays a key role in this endeavor, in that its extraordinary exhibition concept is totally focused on the question of how scientific findings and methods are changing the way we see the world and our views of humankind.
Linz is Europe’s 2009 Capital of Culture. As a major contribution to our city’s big year, the festival’s first project is already being launched on June 17, the day the 80+1 Base Camp is being set up on Linz’s Main Square as the point of departure of a virtual ‘round-the-world journey that, following completion of its 81-day itinerary, returns to Linz just in time for the festival. There, 80+1 will culminate in a globally-networked symposium on cloud intelligence.
2009 also brings us to a joyous milestone: Ars Electronica’s 30th anniversary! As befitting this occasion, an intense retrospective look at the dynamic development of media art will be a key component of the festival program.
Led, curated and produced by artists and scientists—and inspired by their work—the festival’s jam-packed lineup of fascinating events constitutes, as ever, an expedition into hybrid reality and the future of our world.
So, just what is this going to be like, this new nature that human beings are going about engendering?

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“La Porta d’Europa” (Η Πύλη της Ευρώπης): Ένα
μνημείο φόρος τιμής για τους περισσότερους από
10.000 πρόσφυγες και μετανάστες που έχασαν τη
ζωή της στη Μεσόγειο προσπαθώντας να φτάσουν
στην Ευρώπη. Λαμπεντούζα, Ιταλία, Οκτώβριος 2011

25 Φεβρουαρίου 2013

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http://www.youtube-nocookie.com/embed/ZXJWO2FQ16c

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http://www.youtube-nocookie.com/embed/ubbScrsPnN0

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