The corresponding set of lines in the horizontal direction is then chosen as a function of the vertical field. Specifying the wavelength and amplitude, he starts off with a set of wavy parallel lines oriented in the vertical direction. He calls his scheme “wave space,” or “GridField,” geometry. Instead of working with a Cartesian grid represented by horizontal and vertical straight lines, Peden focused on coordinate systems based on wavy lines. Peden then began to formalize his approach, developing a geometric language and framework that he could use to create his abstract narratives. His visual patterns, with their carefully manipulated thematic variations, reminded one of musical forms such as the classical sonata. Later, he turned to abstract landscapes–trees, sky, water, land, and structures presented symbolically and rhythmically in great, horizontal swaths. Peden’s early paintings featured free-flowing amoebic forms radiating vibrant, contrasting colors. “It also allowed me to pursue my own vision without the distraction and influence of the prevailing art fashions, styles, and market forces.” “I found the combination of the natural beauty and solitude supportive of my creative needs,” Peden says. In 1970, he moved to the Adirondack region of New York state. Peden started out in nuclear engineering, but he left the field during the 1960s to become an artist. Peden of Essex, N.Y., has explored another intriguing aspect of grid transformations to create visually arresting paintings, in which each gracefully distorted abstraction ripples its own, subtly musical tale. The physicists even offer a service that transforms any submitted photograph into its anamorphic counterpart (see ).Īrtist Douglas D. Hunt and his colleagues at the University of Guelph in Ontario provide equations that describe the mathematical transformations underlying the most common anamorphic images found in art–the plane, cylindrical, and conical cases. In the March American Journal of Physics, James L. Other pictures must be reflected in shiny spheres, mirrored pyramids, or other reflecting shapes to reveal their true identity. It’s possible, for example, to draw or paint a picture so that you can tell what it is only if you look at its reflection in a mirror shaped like a cylinder or a cone. ![]() Various artists have tried more elaborate schemes. At their feet, the artist painted a weird shape that turns out to be a grinning skull when you hold the picture at a slant and view it in the right way. ![]() ![]() It shows two men standing in front of tables overflowing with books, instruments, and globes (see ). One of the most famous examples is in a painting called “The Ambassadors,” made by the German artist Hans Holbein, the Younger (1497-1543). In such examples, a viewer sees an object correctly only if he or she finds the right angle at which to look at the picture. If you were standing beside the sign instead of riding toward it, however, you would find that the letters are actually stretched out.Īrtists have long used the same idea to create visual puzzles. The white letters look normal from where you are sitting. You’ve probably experienced the same effect while riding in a car and encountering the word “STOP” painted on the roadway just before an intersection.
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