Perspective in Stage Design: An Application of Principles of Anamorphosis in Spatial Visualisation

Čučaković, Aleksandar; Paunović, Marijana

doi:10.1007/s00004-016-0297-5

“…This multiplane projection is historically used in the so-called perspective boxes . Verweij (2010); Spencer (2018); Gay and Cazzaro (2019); Čučaković and Paunović (2016) Fig. 6 Anamorphosis of a cube onto three planes.…”

Section: Anamorphosis Formed Fastmentioning

confidence: 99%

“…This view of anamorphosis as a living part of architecture is of course not exclusive to Pozzo (see for instance Rossi (2016)), although he is a prime example of that tradition. Besides architecture proper, the use of such devices in scenography is well known ( Čučaković and Paunović 2016).…”

Section: Introductionmentioning

confidence: 99%

Anamorphosis Reformed: From Optical Illusions to Immersive Perspectives

Araújo¹

2021

Handbook of the Mathematics of the Arts and Sciences

2

0

View full text Add to dashboard Cite

We discuss a definition of conical anamorphosis that sets it at the foundation of both classical and curvilinear perspectives. In this view, anamorphosis is an equivalence relation between three-dimensional objects, which includes twodimensional representatives, not necessarily flat. Vanishing points are defined in a canonical way that is maximally symmetric, with exactly two vanishing points for every line. The definition of the vanishing set works at the level of anamorphosis, before perspective is defined, with no need for a projection surface. Finally, perspective is defined as a flat representation of the visual data in the anamorphosis. This schema applies to both linear and curvilinear perspectives, and is naturally adapted to immersive perspectives, such as the spherical perspectives. Mathematically, the view here presented is that the sphere and not the projective plane is the natural manifold of visual data up to anamorphic equivalence. We consider how this notion of anamorphosis may help to dispel some long standing philosophical misconceptions regarding the nature of perspective.

show abstract

“…One such work is Marco Cianfanelli's 2012 sculpture of Nelson Mandela. With photo and image editing techniques now widely available to generate such illusions, this work seeks to explore anamorphism further by identifying and quantifying its use in practical product design contexts (Cowan, 2014).…”

Section: Introductionmentioning

confidence: 99%

Application of Anamorphism in Product Design

Kettley,

Wodehouse

2023

Proc. Des. Soc.

0

View full text Add to dashboard Cite

This research aims to investigate the incorporation of anamorphism into product design and has resulted in the creation of a series of handheld objects with embedded anamorphic information. Anamorphism is a phenomenon typically applied to images, where it appears distorted from all but one angle. Often associated with optical illusions, its history and viability for application to product design are reviewed. This includes an assessment of different designs’ impact on the overall recognition of hidden anamorphic objects, focusing on their design attributes to determine the best at concealment. With the creation of 3D anamorphic objects, experiments were conducted to allow correlations between object visibility and design features to be identified. Analysis of the results showed that objects with vertically stretched text and wider cuts within the characters were hardest to recognise and therefore more secure. Objects with the least material made it more difficult to interpret the hidden information from positions that were not the “privileged viewing zone”. The creation of these anamorphic objects highlighted that this function of anamorphism is possible and could be incorporated within products in future.

show abstract

Anamorphosis Reformed: From Optical Illusions to Immersive Perspectives

Araújo

¹

2020

Handbook of the Mathematics of the Arts and Sciences

View full text Add to dashboard Cite

We discuss a definition of conical anamorphosis that sets it at the foundation of both classical and curvilinear perspectives. In this view, anamorphosis is an equivalence relation between three-dimensional objects, which includes twodimensional representatives, not necessarily flat. Vanishing points are defined in a canonical way that is maximally symmetric, with exactly two vanishing points for every line. The definition of the vanishing set works at the level of anamorphosis, before perspective is defined, with no need for a projection surface. Finally, perspective is defined as a flat representation of the visual data in the anamorphosis. This schema applies to both linear and curvilinear perspectives, and is naturally adapted to immersive perspectives, such as the spherical perspectives. Mathematically, the view here presented is that the sphere and not the projective plane is the natural manifold of visual data up to anamorphic equivalence. We consider how this notion of anamorphosis may help to dispel some long standing philosophical misconceptions regarding the nature of perspective.

show abstract

Perspective in Stage Design: An Application of Principles of Anamorphosis in Spatial Visualisation

Cited by 5 publications

References 7 publications

Anamorphosis Reformed: From Optical Illusions to Immersive Perspectives

Anamorphosis Reformed: From Optical Illusions to Immersive Perspectives

Application of Anamorphism in Product Design

Anamorphosis Reformed: From Optical Illusions to Immersive Perspectives

Contact Info

Product

Resources

About