Anamorphic1 Perspective Troemp Loeil

GROUP: Ramona Caulea, Martina Rosato (Treviso, Italy); Arapis-Fragou Anestis, Vamvoura Ioanna, Voulgaraki Michaela, Vafiotou Despina, Noe Anastasiou (Mytilene, Greece), Balan Alexandru, Roescu Robert from Rm. Valcea, Romania

"Hello,we are Manolis, Anestis, Ioanna, Michaela, Despina,and Noe from Mytilene, Greece. We are also very happy, to meet you on this project.
Please follow these links to answer the follow quizes about troemp loeil. "

1) http://mathart.wikidot.com/local--files/anamorphic1-perspective-troemp-loeil/quiz.html

2) [[http://mathart.wikidot.com/local--files/anamorphic1-perspective-troemp-loeil/circles.html]]]

3)http://mathart.wikidot.com/local--files/anamorphic1-perspective-troemp-loeil/lines.html

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5)http://mathart.wikidot.com/local--files/anamorphic1-perspective-troemp-loeil/Quiz.odp

"Hello,we are Ramona and Martina from Treviso, Italy. We are very happy to work on this project with you. Bye! :)"

Anamorphosis

Just to start we can say what is an anamorphic image.
An anamorphosis is an image that is distorted in such a way that it only assumes the proportions of recognizable forms when viewed from a certain angle, or by reflection in a curved surface.The term comes from the Greek anamorphoun, to transform.

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Anamorphic art is known from middle ages. European painters of the early Renaissance were fascinated by linear anamorphic images, in which stretched pictures are formed again when viewed on a slant.

Anamorphic art requires the viewer look at the piece from a specific viewpoint or using a special tool in order to actually see the artwork in its proper display form.
By the end of his career, Salvador Dali was a master of this skill.

The uses of Anamorphosis

The most common use of anamorphic designs is in road signs. Signs on the road need to be viewable by road users from a driving seat, an unconventional position. So they are usually streched images. Here is an example of the same sign from different point of view.

3D Anamorphic Street Painting

3D street artists use flat surfaces such as streets and sidewalk as canvas and manifest 3-D optical illusions. By looking at the anamorphic images from the correct angle, the picture seems to defy the laws of perspective.

Famous street artists are:

Julian Beever

Eduardo Relero

Edgar Mueller

Waterfall_020.jpg Edgar Mueller
There are many artists who see the mural as a brilliant means of getting their work into the wider public domain without doing gallery exhibitions, and they produce works of art that truly can take away the breath of the onlooker.

Anamorphic Graffiti
Italian art collective Truly Design created one of the best and most impressing anamorphic paintings. In an old factory in Turin, the crew composed of Rems182, Mach505, Ninja1 and Mauro149 showed how to use spray-paint, perspective and space to generate mind-blowing effects.

Anamorphic Sculptures

Anamorphosis with a spherical mirror

Sculpture anamorphic projection of shadow

Trompe-l'œil
Trompe-l'œil, which can also be spelled without the hyphen in English as trompe l'oeil,(French for deceive the eye) is an art technique involving extremely realistic imagery in order to create the optical illusion that the depicted objects appear in three dimensions.

The technique was used in ancient Greece and in Roman society, the expression seems born in the Baroque period, but the use of trompe-l'oeil, much earlier (shall remember as the Bridal Chamber works by Mantegna in Mantua , or the simulated choir of Santa Maria at San Satiro in Milan, Bramante), continues to the present day.

An optical illusion (also called a visual illusion) is characterized by visually perceived images that differ from objective reality. The information gathered by the eye is processed in the brain to give a perception that does not tally with a physical measurement of the stimulus source. There are three main types: literal optical illusions that create images that are different from the objects that make them, physiological ones that are the effects on the eyes and brain of excessive stimulation of a specific type (brightness, colour, size, position, tilt, movement), and cognitive illusions, the result of unconscious inferences.
Physiological illusions, such as the afterimages following bright lights, or adapting stimuli of excessively longer alternating patterns (contingent perceptual aftereffect), are presumed to be the effects on the eyes or brain of excessive stimulation or interaction with contextual or competing stimuli of a specific type—brightness, colour, position, tile, size, movement, etc. The theory is that a stimulus follows its individual dedicated neural path in the early stages of visual processing, and that intense or repetitive activity in that or interaction with active adjoining channels cause a physiological imbalance that alters perception.

Perspective

Perspective is an art technique for creating an illusion of three-dimensions (depth and space) on a two-dimensional (flat) surface. Perspective is what makes a painting seem to have form, distance, and look "real". The same rules of perspective apply to all subjects, whether it's a landscape, seascape, still life, interior scene, portrait, or figure painting.

We owe the understanding of this remarkable system to the Italians, who is the early 1400s developed its concepts in Florence. The great architect and artist Brunelleschi (1377-1446) first presented its principles, but it wasn't until Leon Battista Alberti (1404-1472) put down mathematical perspective in his book: De pictura, that artists begun to learn and follow this system.

If you see pre-Renaissance works by various artists, you can clearly see the lack of adequate linear perspective in their paintings. However, after the inception of the rudiments of mathematical linear perspective, the art of painting was changed forever.

In this 15th century illustration there is clearly a general attempt to reduce the size of more distant elements, but unsystematically.

Geometrically incorrect attempt at perspective in a 1614 painting of Old St Paul's Cathedral.

An artist usually draws a series of lines (convergence or orthogonal lines) that converge in one point (vanishing point) on the horizon (horizon line).
The horizon line runs across the canvas at the eye level of the viewer.
The vanishing point should be located somewhere on the horizon line. The vanishing point is where all parallel lines (orthogonals) that run towards the horizon line appear to come together.
Convergence or orthogonal lines are "visual imaginary rays" helping the viewer's eye to connect points around the canvas to the vanishing point. An artist uses them to align the edges of all elements.

Perspective with one vanishing point

When an image shows a view that appears to be looking directly at a single main vanishing point, the scene is a one-point perspective.

Perspective with two vanishing points

The two-point perspective is a much more common type of drawing. Usually in a two-point perspective, the viewer is not looking directly at a single wall or down a passage; instead the scene opens in a couple directions.

Perspective with three vanishing points

Three point perspectives are more complicated to draw, and are rarer, since they typically involve the viewer looking up or down at a scene instead of horizontally at it.