Perceptual 3D rendering based on principles of analytical cubism

Cataloged from PDF version of article.Cubism, pioneered by Pablo Picasso and Georges Braque, was a breakthrough in art, influencing artists to abandon existing traditions. In this paper, we present a novel approach for cubist rendering of 3D synthetic environments. Rather than merely imitating cubist paintings, we apply the main principles of analytical cubism to 3D graphics rendering. In this respect, we develop a new cubist camera providing an extended view, and a perceptually based spatial imprecision technique that keeps the important regions of the scene within a certain area of the output. Additionally, several methods to provide a painterly style are applied. We demonstrate the effectiveness of our extending view method by comparing the visible face counts in the images rendered by the cubist camera model and the traditional perspective camera. Besides, we give an overall discussion of final results and apply user tests in which users compare our results very well with analytical cubist paintings but not synthetic cubist paintings. (c) 2012 Elsevier Ltd. All rights reserved

Space-Time Cubification of Artistic Shapes.

This poster describes an original approach to producing artistic shapes in a cubist style. We propose mathematical models and algorithms for adding cubist features to (or cubification of) time-variant sculptural shapes as well as a practical technological pipeline embracing all the main phases of their production. A novel method is proposed for faceting and local distortion of the given artistic shape. A new concept of a 4D cubist camera is introduced for multiple projections from 4D space-time to 3D space and combining them using space-time blending to create animated sculptures. The proposed techniques are implemented and experimental results are presented

Cubist style rendering of 3D virtual environments

Ankara : The Department of Computer Engineering and the Graduate School of Engineering and Science of Bilkent University, 2012.Thesis (Master's) -- Bilkent University, 2012.Includes bibliographical refences.Cubism, pioneered by Pablo Picasso and Georges Braque, was a breakthrough in art, influencing artists to abandon existing traditions. In this thesis, we present a novel approach for cubist rendering of 3D synthetic environments. Rather than merely imitating cubist paintings, we apply the main principles of Analytical Cubism to 3D graphics rendering. In this respect, we develop a new cubist camera providing an extended view, and a perceptually based spatial imprecision technique that keeps the important regions of the scene within a certain area of the output. Additionally, several methods to provide a painterly style are applied. We demonstrate the effectiveness of our extending view method by comparing the visible face counts in the images rendered by the cubist camera model and the traditional perspective camera. Besides, we give an overall discussion of final results and apply user tests in which users compare our results very well with Analytical Cubist paintings but not Synthetic Cubist paintings.Arpa, SamiM.S

Cubification and animation of artistic shapes

This poster describes an original approach to creating static and dynamic sculptures in a cubist style. We propose a novel method for faceting and local distortion thus adding cubist features and generating time-variant sculptural shapes. We introduce the concept of a 4D cubist camera for blending multiple projections from 4D space-time to 3D space. We describe a practical pipeline embracing all the main phases of production of static and dynamic cubist shapes. The proposed techniques are implemented and experimental results are presented

4D Cubism: Modeling, Animation and Fabrication of Artistic Shapes

The paper describes an original approach to creating and producing artistic shapes in a cubist style. We propose mathematical models and algorithms for adding cubist features to (or cubification of) time-variant sculptural shapes as well as a practical technological pipeline embracing all the main phases of their production. A novel method is proposed for faceting and local distortion of the given artistic shape. A new concept of a 4D cubist camera is introduced for multiple projections from 4D space-time to 3D space and combining them using space-time blending to create animated sculptures. 3D printing for stop-motion animation is proposed as one of the final pipeline processing stages. The proposed techniques are implemented with artist friendly user interfaces and experimental results are presented

Embody phenomenal transparency : the expanded application of phenomenal transparency in landscape architecture

Phenomenal Transparency was first identified from cubism painting and applied to architectural analysis by Colin Rowe and Slutzky in 1963. In terms of the discussion of form, this spatial quality synthesizes and demonstrates complex orders and organizations in a structural way which could be comprehend through experience. From the perspective of modern physics considering the traditional space as timespace continuum, the intentionally ambiguous space creates simultaneous perception and actively mutual relationship between human and time-space which is the essential forum of Phenomenology in current context. The thesis bridges the theory of “Phenomenal Transparency“, the theory of “Phenomenology” in aspect of embody experience and the design application in “Landscape Architecture”, aiming at translating, representing and expanding this theory from the scope of landscape architecture and eventually achieving “the making of place“

Abstraction, exaggeration and experimental forms of perspective in 3D animation

Artists within the Fauvist, Expressionist, and Cubist Movements were intrigued by spatial and temporal compression. Portrayal of subject matter through simultaneous exposures of multiple perspectives yielded powerful contradictions to the extant codes of post-Renaissance art. This perceptual flattening inspired future generations to investigate the potential of a medium beyond obvious conventions of interaction between both artist and audience. Beyond the painters‟ canvases, cinema (and most notably, animation) grants artists the powerful medium of time with which to ply their creative experiments with visual abstraction and storytelling. Recently, popular three-dimensional („3D‟) computer-generated feature animated films have lacked this form of abstraction.3D modeling and animation packages immediately present an artist with a creation environment intrinsic in the concept of perspective. The ways in which the artist views and navigates the software environment are through either an orthogonal or a perspective-based virtual camera, with lens focal length distortion, film gate aspect ratio, and framing. Because of this, one can freely create geometries, objects, characters, and composed scenes as they appear similarly in both the real and virtual worlds, with less attention needed on the fundamentals of linear perspective, such as foreshortening or multiple-point perspective.This thesis examines the development of an experimental production approach to 3D animation using techniques such as abstract and exaggerated perspective, non-linear optics, experimental virtual camera controls, and optical illusion. These methods will be the foundation of a project that seeks to attain compositional freedom in 3D animation outside of historical constraints, which has been traditionally restricted by natural laws of visual perception. The goal is not only to develop a unique style meant to push the bounds of “expected” virtual reality (that is, virtual representations of physical objects achieving structural and textural similarity to the natural world), but enhance the already rich means of animated storytelling as a whole by implementing established creation tools in unique ways. This novel approach involves creating controlled child-parent relationships between geometries in a 3D environment and the camera that is viewing them. Two considerable results of this unorthodox animation production‟s application of complex controls over camera-to-geometry orientations are: 1) Virtual scenes of visually-articulate abstracted compositions, and 2) Manipulation of audience perception and sensory expectation.The proposed animated film is expected to vary in visual comprehensibility, in a way that exaggerates the predictable norms prominent in mainstream 3D animation. The result should highlight on the potential for more established media such as two-dimensional („2D‟) animation to inform decisions made and tools created for modern, evolving media. The effectiveness of this radical animation production approach will be evaluated based on the personal assessments and observations of myself and other anonymous individuals. Determinations following the completion of this project will lead to the clarification of how successfully the completed animation performs as an experimental narrative.M.S., Digital Media -- Drexel University, 201

An Investigation of Holographic Technologies Applied to Contemporary Art Practice A new approach to temporal aesthetics

The works of contemporary art using audio, 35mm slide, video, film and computer- based technologies are commonly referred to as time-based media, since they have duration as a dimension. By looking at artworks which are classified in this category, it appears that temporal visual perceptual interpretations are mainly created through the use of the illusion of movement, which is primarily constituted by sequential images. In art holography, the light-based characteristic qualities of this medium compose a kinetic and interactive visual syntax, which are not seen in other imaging technologies, stating its unique creative possibilities. Thus, this study intends to employ holography as an art medium to explore its temporal properties in order to establish a new approach to time-based media art practice. To review the practice and artworks created for this study, the author recognises that the characteristic qualities of a medium is key for the development of its own aesthetic culture. Moreover, the author also identifies that the combination of both the slips form of a hologram and a portable lighting device would be fundamental elements of the suggested new approach. This approach integrates the holographic image replaying process and the Chinese bamboo slips structure to create a scroll form of an artwork presentation, which suggests a viewer to observe with an unrolling activity, section by section. The role of light in this approach is essential as it not only reconstructs the image, but also acts as an intangible guide to indicate the viewing direction, which forms a directional linear temporal expression. This study combines the suggested approach with classical Chinese poetry to create a series of experimental artworks, demonstrating that the literal and figurative meaning of the poem could possibly be elevated through the manipulation of the light source and the scroll from of the image presentation, as the former creates the holographic kinetic expression and the latter reinforces the poetic linearity. This approach could be interpreted as a time-based holographic manifestation, as it unfolds the art to the viewer over time. Furthermore, in terms of the characteristic qualities of holography, the visual expressive techniques and aesthetic features created for this study indicate that such works cannot be recreated without the use of holography. This study reveals that the irreplaceable aesthetic qualities of holography, suggesting that it could expand and diversify the creative potential of time-based media art; and the discussion of this category would not be comprehensive unless taking this medium into consideration. This study establishes a creative possibility of holography and expects the finding to lead to a greater appreciation for future time-based media art practice, thus enriching the temporal artistic expressions. Moreover, as it is practice-based, the process of the research is primarily expressed through a series of holographic artworks, and combined with written format of discussion, which is presented in this thesis. For comprehensive understanding, reading the thesis in conjunction with viewing the artworks in person is suggested, as the photographic reproduction of the holographic images in this thesis is only for illustration purpose

The Spatial experience in visual communication

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