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Volume 14 (1980)
- Issue 2 Pages 1-
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Volume 14, Issue 2
Displaying 1-10 of 10 articles from this issue
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Shin-ichi Murakami1980 Volume 14 Issue 2 Pages 1-8
Published: 1980
Released on J-STAGE: August 25, 2010
JOURNAL FREE ACCESSThe difference between orthogonaly projected cube which is valuntaly located in space, and the perceived cube which is drawingly constructed by using the same angle relation of the projected three axes and with one point given on one of these axis, is studied experimentaly. The main results are as follows. 1 Perceived scale ratio is always larger than theoretical one. 2 Perceived scale ratio show the constancy tendency in comparison to the changing charactor of the projectional ratios. 3 The difference between these are independently determined by theoretical angle of each axis to the projecting plane. 4 Perceived scale on vertical axis is larger than the scale on the other two axes.View full abstractDownload PDF (771K) -
Eiichi OHTA, Kazuichiro MINAMI, Tadanori KANAMARU1980 Volume 14 Issue 2 Pages 9-14
Published: 1980
Released on J-STAGE: August 25, 2010
JOURNAL FREE ACCESSA straight line is given on the ground plane, and many straight lines, each straight line is parallel to GL and at constant intervals, are cn the sane plane. Intersection points of them are at constant intervals. Perspective projection of the given straight line is total perspective .Perspective projection of many straight lines is a group of straight lines, each straight line is parallel to HL and their intervals are proportional to the square of the distance frctn HL to the straight lines. Then we get axometric scale of the given straight line fran intersection points of total perspective and a group of straight lines. We get axometric scale of the straight line parallel to the given straight line and of the straight line in another direction from the same group of straight lines. If we use a drawing paper in which HL and a group of straight lines are printed, we can easily draw the perspective.View full abstractDownload PDF (433K) -
—A New Method for Finding Intersecting Lines with Optically Constructed Two Bodies—Sadahiko NAGAE, Shiro ODAKA1980 Volume 14 Issue 2 Pages 15-20
Published: 1980
Released on J-STAGE: August 25, 2010
JOURNAL FREE ACCESSThis paper describes a method for finding intersecting lines with optically constructed more then two solid bodies, where a special Moiré technique, named ODAKA-NAGAE Method, is developed. The used apparatus works as follows; (1) Shadow of an equispaced plane grating is projected on an object A from a projector through a 50% transparent-50% refrective half mirror, where equivalent shadow is also projected onto an object B. (2) When the ob-ject B is observed through the half mirror from a proper location so that the image of the object A is overlapped uppon the object B, the optically constructed bodies make an unique Moiré fringes. (3) This resulting Moiré gives the intersecting line of the bodies, if the experimental processing is properly handled to meet the analysis of the authors. The principle and some experimental results to verify the theory are shortly described.View full abstractDownload PDF (5522K) -
Akira Kamiyama1980 Volume 14 Issue 2 Pages 21-28
Published: 1980
Released on J-STAGE: August 25, 2010
JOURNAL FREE ACCESSIn Johannes Vermeer's interiors, we feel a realistic space by lifelike depiction. Besides his interiors have characteristic tense composition. In this research, I studied the quality of Vermeer's pictorial space, analyzing the relations between the composition of painting and the perspective in his three works. The room in these works is closed space which has clear relations of situations by one point perspective. Vanishing point overlaps the figures's eyes which are main theme in the composition of painting. Therefore, the centripetal picture with a clear perspective makes three-dimentional composition in the room's space, keeping the relation of the direction of eyes between a person looking at the picture and the pictorial figures. Moreover, the depiction of rays mends unnatural point of the perspective at the same time, and emphasizes the center of each theme in the composition more. So, the effect by correct perspective and the aim of the composition of painting are united. The perspective in the Vermeer's pictures are utilized effectively, for the purpose of setting clear relations of situations of motives arranges in the room, having relations between the eyes of a person looking at the picture and the composition of painting, and making tensioned pictorial space.View full abstractDownload PDF (5798K) -
[in Japanese]1980 Volume 14 Issue 2 Pages 29-33
Published: 1980
Released on J-STAGE: August 25, 2010
JOURNAL FREE ACCESSDownload PDF (400K) -
[in Japanese], [in Japanese]1980 Volume 14 Issue 2 Pages 35-40
Published: 1980
Released on J-STAGE: August 25, 2010
JOURNAL FREE ACCESSDownload PDF (2307K) -
[in Japanese]1980 Volume 14 Issue 2 Pages 41-45
Published: 1980
Released on J-STAGE: August 25, 2010
JOURNAL FREE ACCESSDownload PDF (1903K) -
[in Japanese]1980 Volume 14 Issue 2 Pages 47-48
Published: 1980
Released on J-STAGE: August 25, 2010
JOURNAL FREE ACCESSDownload PDF (201K) -
[in Japanese]1980 Volume 14 Issue 2 Pages 49-51
Published: 1980
Released on J-STAGE: August 25, 2010
JOURNAL FREE ACCESSDownload PDF (247K) -
1980 Volume 14 Issue 2 Pages 53-55
Published: 1980
Released on J-STAGE: December 09, 2010
JOURNAL FREE ACCESSDownload PDF (335K)
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