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Author: Massimo Scolari
Publisher: MIT Press (MA)
ISBN: 9780262017749
Category : Axonometric projection
Languages : en
Pages : 0
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Book Description
For more than half a century, Erwin Panofsky's Perspective as Symbolic Form has dominated studies of visual representation. Despite the hegemony of central projection, or perspective, other equally important methods of representation have much to tell us. Parallel projection can be found on classical Greek vases, in Pompeiian frescoes, in Byzantine mosaics; it returned in works of the historical avant-garde, and remains the dominant form of representation in China. In Oblique Drawing, Massimo Scolari investigates "anti-perspective" visual representation over two thousand years, finding in the course of his investigation that visual and conceptual representations are manifestations of the ideological and philosophical orientations of different cultures. Images prove to be not just a form of art but a form of thought, a projection of a way of life. Scolari's generously illustrated studies show that illusionistic perspective is not the only, or even the best, representation of objects in history; parallel projection, for example, preserves in scale the actual measurements of objects it represents, avoiding the distortions of one-point perspective. Scolari analyzes the use of nonperspectival representations in pre-Renaissance images of machines and military hardware, architectural models and drawings, and illustrations of geometrical solids. He challenges Panofsky's theory of Pompeiian perspective and explains the difficulties encountered by the Chinese when they viewed Jesuit missionaries' perspectival religious images. Scolari vividly demonstrates the diversity of representational forms devised through the centuries, and shows how each one reveals something that is lacking in the others.
Author: Massimo Scolari
Publisher: MIT Press (MA)
ISBN: 9780262017749
Category : Axonometric projection
Languages : en
Pages : 0
Get Book Here
Book Description
For more than half a century, Erwin Panofsky's Perspective as Symbolic Form has dominated studies of visual representation. Despite the hegemony of central projection, or perspective, other equally important methods of representation have much to tell us. Parallel projection can be found on classical Greek vases, in Pompeiian frescoes, in Byzantine mosaics; it returned in works of the historical avant-garde, and remains the dominant form of representation in China. In Oblique Drawing, Massimo Scolari investigates "anti-perspective" visual representation over two thousand years, finding in the course of his investigation that visual and conceptual representations are manifestations of the ideological and philosophical orientations of different cultures. Images prove to be not just a form of art but a form of thought, a projection of a way of life. Scolari's generously illustrated studies show that illusionistic perspective is not the only, or even the best, representation of objects in history; parallel projection, for example, preserves in scale the actual measurements of objects it represents, avoiding the distortions of one-point perspective. Scolari analyzes the use of nonperspectival representations in pre-Renaissance images of machines and military hardware, architectural models and drawings, and illustrations of geometrical solids. He challenges Panofsky's theory of Pompeiian perspective and explains the difficulties encountered by the Chinese when they viewed Jesuit missionaries' perspectival religious images. Scolari vividly demonstrates the diversity of representational forms devised through the centuries, and shows how each one reveals something that is lacking in the others.
Author: John Willats
Publisher: Princeton University Press
ISBN: 9780691087375
Category : Art
Languages : en
Pages : 428
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Book Description
In Art and Representation, John Willats presents a radically new theory of pictures. To do this, he has developed a precise vocabulary for describing the representational systems in pictures: the ways in which artists, engineers, photographers, mapmakers, and children represent objects. His approach is derived from recent research in visual perception and artificial intelligence, and Willats begins by clarifying the key distinction between the marks in a picture and the features of the scene that these marks represent. The methods he uses are thus closer to those of a modern structural linguist or psycholinguist than to those of an art historian. Using over 150 illustrations, Willats analyzes the representational systems in pictures by artists from a wide variety of periods and cultures. He then relates these systems to the mental processes of picture production, and, displaying an impressive grasp of more than one scholarly discipline, shows how the Greek vase painters, Chinese painters, Giotto, icon painters, Picasso, Paul Klee, and David Hockney have put these systems to work. But this book is not only about what systems artists use but also about why artists from different periods and cultures have used such different systems, and why drawings by young children look so different from those by adults. Willats argues that the representational systems can serve many different functions beyond that of merely providing a convincing illusion. These include the use of anomalous pictorial devices such as inverted perspective, which may be used for expressive reasons or to distance the viewer from the depicted scene by drawing attention to the picture as a painted surface. Willats concludes that art historical changes, and the developmental changes in children's drawings, are not merely arbitrary, nor are they driven by evolutionary forces. Rather, they are determined by the different functions that the representational systems in pictures can serve. Like readers of Ernst Gombrich's famous Art and Illusion (still available from Princeton University Press), on which Art and Representation makes important theoretical advances, or Rudolf Arnheim's Art and Visual Perception, Willats's readers will find that they will never again return to their old ways of looking at pictures.
Author: Archibald Stanley Percival
Publisher:
ISBN:
Category : Perspective
Languages : en
Pages : 58
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Book Description
Author: Margaret Pearce
Publisher: Macmillan
ISBN: 9780716749172
Category : Science
Languages : en
Pages : 180
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Book Description
You can’t navigate human geography, if you can’t read the maps. This full-color interactive web based workbook uses cartographic visualization as an approach to using maps as tools for both the exploration and representation of geographic ideas.
Author: Colin Caborn
Publisher: Nelson Thornes
ISBN: 9780174482772
Category : Crafts & Hobbies
Languages : en
Pages : 420
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Book Description
Design and Technology is a practical student text for CXC.
Author: Boyd A. Gill
Publisher:
ISBN:
Category : Perspective
Languages : en
Pages : 146
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Book Description
Author: Dhirgham Murran
Publisher: Lulu.com
ISBN: 0557300460
Category : Art
Languages : en
Pages : 147
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Book Description
This book has new and unique theories and techniques in perspective drawing unknown in any other book on the shelf. The author tried to establish the simplest methods yet geometrically proven techniques to draw precise perspective views. This book is divided into two parts, based on the viewing angle or so-called the tilt angle of the camera. Part one of the book is related to level vision (i.e. the camera is set level), which is the most popular in perspective drawing. Part two deals with the tilt angle of the camera to generate oblique perspective or so-called 'Bird's and Worm's eye view'. There haven't been any perspective methods that involve a tilt angle to be preset prior to construct a perspective drawing.This book also includes a mathematical approach to establish simple vector equations to plot any 3D model based on x, y and z-coordinates. It also deals with the tilt angle of the camera to generate three- point perspective or so-called bird's and worm's eye view.
Author: Ray Lucas
Publisher: Routledge
ISBN: 1317148207
Category : Architecture
Languages : en
Pages : 393
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Book Description
Drawing Parallels expands your understanding of the workings of architects by looking at their work from an alternative perspective. The book focuses on parallel projections such as axonometric, isometric, and oblique drawings. Ray Lucas argues that by retracing the marks made by architects, we can begin to engage more directly with their practice as it is only by redrawing the work that hidden aspects are revealed. The practice of drawing offers significantly different insights, not easily accessible through discourse analysis, critical theory, or observation. Using James Stirling, JJP Oud, Peter Eisenman, John Hejduk, and Cedric Price as case studies, Lucas highlights each architect's creative practices which he anaylses with reference to Bergson's concepts of temporality and cretivity, discussing ther manner in which creative problems are explored and solved. The book also draws on a range of anthropological ideas including skilled practice and enchantment in order to explore why axonometrics are important to architecture and questions the degree to which the drawing convention influences the forms produced by architects. With 60 black-and-white images to illustrate design development, this book would be an essential read for academics and students of architecture with a particular interest in further understanding the inner workings of the architectural creative process.
Author: Marcia Foley
Publisher: Nelson Thornes
ISBN: 9780748726172
Category : Education
Languages : en
Pages : 228
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Book Description
Substantially revised to incorporate the contents of the 1995 Revised Order and its major implications for geography teaching. Includes two brand new chapters on the growing early years sector and OFSTED inspections. A whole range of different ways to organise the geography curriculum is discussed, with examples. The resources sections have been updated and expanded.
Author: Douglas Cooper
Publisher: John Wiley & Sons
ISBN: 047004716X
Category : Architecture
Languages : en
Pages : 257
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Book Description
A complete guide to drawing, perception, and analysis for architects and designers The observation and drawing of real objects are the starting points for the designer's visionary constructions and inspirations. A longtime favorite of architectural students, Douglas Cooper's Drawing and Perceiving: Real-World Drawing for Students of Architecture and Design instills an understanding of the basic principles of drawing that are universal to all design disciplines-mass, volume, form, contour, texture, shadow, and more-as it explores the knowledge, rational thought, and expressiveness that designers rely on to create successful drawings. Now including a CD featuring Cooper's own dynamic instruction, this new Fourth Edition combines theory and technique to prepare students of architecture and design to carry on a dialogue between their perceptions of the physical world and their understanding of the elements of design.
