This book intends to focus exclusively on anamorphic experiments in contemporary art and design, leaving an in-depth historical examination of its Baroque season to other studies. Themes, languages and fields of application of anamorphosis in contemporary culture are critically analyzed to make the reader aware of the communicative potentiality of this kind of geometrical technique. The book also has the aim to teach the reader the most appropriate geometric techniques for each of them, in order to achieve the designed illusion. Each typology of anamorphosis is accompanied in this book by contemporary installations, a geometrical explanation by means of 3D models and didactic experiments carried on in collaboration with the students of the Department of Architecture in Naples.

An undergraduate textbook devoted exclusively to relationships between mathematics and art, Viewpoints is ideally suited for math-for-liberal-arts courses and mathematics courses for fine arts majors. The textbook contains a wide variety of classroom-tested activities and problems, a series of essays by contemporary artists written especially for the book, and a plethora of pedagogical and learning opportunities for instructors and students. Viewpoints focuses on two mathematical areas: perspective related to drawing man-made forms and fractal geometry related to drawing natural forms. Investigating facets of the three-dimensional world in order to understand mathematical concepts behind the art, the textbook explores art topics including comic, anamorphic, and classical art, as well as photography, while presenting such mathematical ideas as proportion, ratio, self-similarity, exponents, and logarithms. Straightforward problems and rewarding solutions empower students to make accurate, sophisticated drawings. Personal essays and short biographies by contemporary artists are interspersed between chapters and are accompanied by images of their work. These fine artists--who include mathematicians and scientists--examine how mathematics influences their art. Accessible to students of all levels, Viewpoints encourages experimentation and collaboration, and captures the essence of artistic and mathematical creation and discovery. Classroom-tested activities and problem solving Accessible problems that move beyond regular art school curriculum Multiple solutions of varying difficulty and applicability Appropriate for students of all mathematics and art levels Original and exclusive essays by contemporary artists Forthcoming: Instructor's manual (available only to teachers)

This review of literature on perspective constructions from the Renaissance through the 18th century covers 175 authors, emphasizing Peiro della Francesca, Guidobaldo del Monte, Simon Stevin, Brook Taylor, and Johann Heinrich. It treats such topics as the various methods of constructing perspective, the development of theories underlying the constructions, and the communication between mathematicians and artisans in these developments.

This book gathers peer-reviewed papers presented at the 18th International Conference on Geometry and Graphics (ICGG), held in Milan, Italy, on August 3-7, 2018. The spectrum of papers ranges from theoretical research to applications, including education, in several fields of science, technology and the arts. The ICGG 2018 mainly focused on the following topics and subtopics: Theoretical Graphics and Geometry (Geometry of Curves and Surfaces, Kinematic and Descriptive Geometry, Computer Aided Geometric Design), Applied Geometry and Graphics (Modeling of Objects, Phenomena and Processes, Applications of Geometry in Engineering, Art and Architecture, Computer Animation and Games, Graphic Simulation in Urban and Territorial Studies), Engineering Computer Graphics (Computer Aided Design and Drafting, Computational Geometry, Geometric and Solid Modeling, Image Synthesis, Pattern Recognition, Digital Image Processing) and Graphics Education (Education Technology Research, Multimedia Educational Software Development, E-learning, Virtual Reality, Educational Systems, Educational Software Development Tools, MOOCs). Given its breadth of coverage, the book introduces engineers, architects and designers interested in computer applications, graphics and geometry to the latest advances in the field, with a particular focus on science, the arts and mathematics education.

The aim of this book is to examine the geometry of our world and, by blending theory with a variety of every-day examples, to stimulate the imagination of the readers and develop their geometric intuition. It tries to recapture the excitement that surrounded geometry during the Renaissance as the development of perspective drawing gathered pace, or more recently as engineers sought to show that all the world was a machine. The same excitement is here still, as enquiring minds today puzzle over a random-dot stereogram or the interpretation of an image painstakingly transmitted from Jupiter.The book will give a solid foundation for a variety of undergraduate courses, to provide a basis for a geometric component of graduate teacher training, and to provide background for those who work in computer graphics and scene analysis. It begins with a self-contained development of the geometry of extended Euclidean space. This framework is then used to systematically clarify and develop the art of perspective drawing and its converse discipline of scene analysis and to analyze the behavior of bar-and-joint mechanisms and hinged-panel mechanisms. Spherical polyhedra are introduced and scene analysis is applied to drawings of these and associated objects. The book concludes by showing how a natural relaxation of the axioms developed in the early chapters leads to the concept of a matroid and briefly examines some of the attractive properties of these natural structures.

The aim of this book is to examine the geometry of our world and, by blending theory with a variety of every-day examples, to stimulate the imagination of the readers and develop their geometric intuition. It tries to recapture the excitement that surrounded geometry during the Renaissance as the development of perspective drawing gathered pace, or more recently as engineers sought to show that all the world was a machine. The same excitement is here still, as enquiring minds today puzzle over a random-dot stereogram or the interpretation of an image painstakingly transmitted from Jupiter. The book will give a solid foundation for a variety of undergraduate courses, to provide a basis for a geometric component of graduate teacher training, and to provide background for those who work in computer graphics and scene analysis. It begins with a self-contained development of the geometry of extended Euclidean space. This framework is then used to systematically clarify and develop the art of perspective drawing and its converse discipline of scene analysis and to analyze the behavior of bar-and-joint mechanisms and hinged-panel mechanisms. Spherical polyhedra are introduced and scene analysis is applied to drawings of these and associated objects. The book concludes by showing how a natural relaxation of the axioms developed in the early chapters leads to the concept of a matroid and briefly examines some of the attractive properties of these natural structures.

In Picturing Space, Displacing Bodies, Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic assumptions about the way early modern artists and theorists represented their relationship to the visible world and how they understood these representations. By analyzing technical feats such as anamorphosis (the perspectival distortion of an object to make it viewable only from a certain angle), drawing machines, and printed diagrams, each chapter highlights the moments when perspective theorists failed to unite a singular, ideal viewpoint with the artist&’s or viewer&’s viewpoint or were unsuccessful at conjoining fictive and lived space.Showing how these &“failures&” were subsequently incorporated rather than rejected by perspective theorists, the book presents an important reassessment of the standard view of Renaissance perspective. While many scholars have maintained that perspective rationalized the relationships among optics, space, and painting, Picturing Space, Displacing Bodies asserts instead that Renaissance and early modern theorists often revealed a disjunction between geometrical ideals and practical applications. In some cases, they not only identified but also exploited these discrepancies. This discussion of perspective shows that the painter&’s geometry did not always conform to the explicitly rational, Cartesian formula that so many have assumed, nor did it historically unfold according to a standard account of scientific development.