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Transcript of cae08_presentation3452452435242462523452342345234623452345234523452354
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Composition in Perspectives
Elodie Fourquet
Computational Aesthetics 2008
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Motivation
Goal: composition in a realistic image.
I Imaging versus modelling software.
I Renaissance art practices.
1935 Ford Woody by Jim Hatch Illustration. An engraving of Durer.
www.khulsey.com
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Composition in Modelling Software
Graphics Course T-shirt image done with Houdini. Modelling software interface.
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Perspective in Imaging Software
Kevin Husley Illustration Inc.: Empress of the Seas’ Cruise Ship Cutaway
(Software: Adobe Creative Suite, Illustration Time: 960 hours).
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Example of Artist Composition
Scott More, illustrator, Coffee Stop. Painting Step-by-step.
http://www.scottmooreart.com/
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Traditional Composition
Traditional artists prefer imaging over modelling software.
I Composition is hard and indirect in modelling software.
I Artists are working in image plane & depth simultaneously.
But, depth tools are absent in imaging software.
I Importance of construction lines.
Kevin Husley Illustration Inc.
Metro Rail Project
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Traditional Composition
Traditional artists prefer imaging over modelling software.
I Composition is hard and indirect in modelling software.
I Artists are working in image plane & depth simultaneously.
But, depth tools are absent in imaging software.
I Importance of construction lines.
Kevin Husley Illustration Inc.
Metro Rail Project
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Renaissance Art
I Renaissance artists mastered perspective.
I Renaissance artists composed in the image plane.
I Elkins: from an unitary perspective to a pluralist approach.Kubovy: non-rectangular bodies with central projection.Kemp: more than ten constructions for perspective.
An engraving of Durer.
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Renaissance Art
I Renaissance artists mastered perspective.
I Renaissance artists composed in the image plane.
I Elkins: from an unitary perspective to a pluralist approach.Kubovy: non-rectangular bodies with central projection.Kemp: more than ten constructions for perspective.
An engraving of Durer.
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Renaissance Art
I Renaissance artists mastered perspective.
I Renaissance artists composed in the image plane.
I Elkins: from an unitary perspective to a pluralist approach.Kubovy: non-rectangular bodies with central projection.Kemp: more than ten constructions for perspective.
An engraving of Durer. Figure from Perspective Artistique, by Pierre Olmer 1948.
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Renaissance: Image Composition
The Baptism of Christ of Francesca, c. 1460. Composition according to Lavin.
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Renaissance: Collage with Realistic Depth
The School of Athens of Raphael, c. 1510
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Renaissance: Collage with Realistic Depth
The School of Athens of Raphael, c. 1510
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Renaissance: Collage with Realistic Depth
The School of Athens of Raphael, c. 1510
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Renaissance: Collage with Realistic Depth
The School of Athens of Raphael, c. 1510
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Renaissance: Perspective and Composition
Piero della Francesca, Flagellation of Christ, after 1444.
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Composition Framework
Method to combine composition and perspective.
I Set a basic geometric pattern on the image plane.
I Build a tiled floor within the image plane pattern,which fixes depth & view parameters.
I Fill in with volumes and panels.
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Composition Framework
Method to combine composition and perspective.
I Set a basic geometric pattern on the image plane.
I Build a tiled floor within the image plane pattern,which fixes depth & view parameters.
I Fill in with volumes and panels.
Richard Talbot’s images from Speculations on the Origins of Linear Perspective, 2003.
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Composition Framework
Method to combine composition and perspective.
I Set a basic geometric pattern on the image plane.
I Build a tiled floor within the image plane pattern,which fixes depth & view parameters.
I Fill in with volumes and panels.
Richard Talbot’s images from Speculations on the Origins of Linear Perspective, 2003.
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Compositional Grid: Square Subdivision
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Definitions: VP, Horizon and Baseline
m.o m.oB
HVP
m.om.o
H
B
VP
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Floor: Transversal From Distance Point
DPADPBDPC
f.t0f.t5
f.o0f.o1f.o2f.o6 . . . .
f.p0
f.p1
f.p5
. .
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Floor: Different Views
I Distance Point selection.
I Image Edge selection.
DP on frame DP outside the frame DP close to VP
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Walls: Setting Up
I The inscribed square is used for intermediate back wall.I Lines from VP to intermediate wall corners are used.I The room volume is completed from floor definition.
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Walls: Different Views
I Distance Point location affects the volume shape.
Cube looking volume. In-between volume Tunnel looking volume.
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Blocks
I A block is a tile elevation.
I Fixed height across each floor horizontal.
I Recursive construction.
I For correct occlusion, ordering is needed.
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Demo
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Results
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Results
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Results
Masaccio, The Holy Trinity, c. 1428.
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Results
Based on Jan van Eyck, Madonna and child, c. 1437.
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Results
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Contribution: Framework
I Framework inspired by artistic practice of Renaissance.
I Composition in an image presenting depth is possible.I Depth is not strictly defined,
an image corresponds to multiple projections.I Depth effect is produced by key relations.I Floor works as an ‘artistic composition device’.
I 3D-like manipulation within compositional framework,by changing distance point and floor divisions.
Paintings of Sandro Botticelli c.1480.
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Future Work
I Increase flexibility: changing VP, horizon line position...
I Additional 3D-like manipulation and content:
I Rotation of blocks & of panels into depth.I Tools for relative scale.
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Future Work
I Increase flexibility: changing VP, horizon line position...I Additional 3D-like manipulation and content:
I Rotation of blocks & of panels into depth.I Tools for relative scale.
Stimuli from panel rotation experiment.
Paolo Ucello, Hunt by Night, c.1460.
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Thanks