This study examines Sōtatsu's “Wind God and Thunder God” through its composition rules. First, composition rules that make use of folding-screen painting characteristics were checked. The findings revealed that the composition rules used convex-concave screens and horizontal displays. These composition rules were the same or as common as that of folding-fan paintings. Including Mizuo's indication that the composition rules of this folding-screen painting were similar to that of fanscreen paintings, “Wind God and Thunder God” employed all the composition rules of the fan-screen, folding-fan, and folding-screen painting skills Sōtatsu acquired as a Tawaraya workshop painter. Next, “Wind God and Thunder God” was examined through these composition rules. The findings revealed that this folding-screen painting depicts antonymic expressions of the two gods. This folding-screen painting also employed another composition rule that makes use of “yohaku” blank space, which is also found in Sōtatsu's fan-screen painting. The original picture, the process of creating compositions, and the reason the two-panel paired folding-screen format was chosen are also hypothesized.

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　This paper presents an image transformation method between Japanese fans and their unfolded pictures. The transformation from 2D pictures to 3D fans depends on the number and positions of folding lines, which makes the analysis complicated. In order to avoid this complication, we consider the extreme state in which the number of the folding lines approaches to infinity and the width of the strips approaches to zero. This state corresponds to the orthographic projection of the fan. The proposed method requires only the outline shape of the picture, the center and the angle of the fun, and hence can be used as a convenient tool for the analysis of the distortion of fan pictures.

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　For viewing 3D images, a combination of a stereoscopic-capable projector and LCD shutter glasses can now be had for less than 100,000 yen. This report analyzes and summarizes the curriculum of three patterns of 3D video production practice using stereoscopic images modeled in 3D using POV-Ray: 15 exercises for six months, 15 exercises for two days, and 3 exercises for three weeks. Then, this analysis was conducted from the perspective of 2D, 3D, and moving images included in stereoscopic images.

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　The Technical Drawings for Mechanical Engineering (JIS B 0001) provides convenient and useful standards. In particular, the illustrated example in JIS B 0001 released in 2019 were significantly revised from those in the previous version released in 2010. On the other hand, the Digital Technical Product Documentation (JIS B 0060-1–JIS B 0060-10), which is also called the industrial standards for three-dimensional (3D) drawings, specifies matters specific to 3D drawings, with consideration given so as not to cause any inconsistency between 3D drawings and two-dimensional (2D) drawings. However, some instructions for 3D and 2D drawings in JIS B 0060-1–JIS B 0060-10 are different from those shown in the illustrated example in JIS B 0001 (2019). In this article, we suggest the use of correct illustrated example with specific instruction example in order to educate young designers on mechanical drawing and prevent any misunderstanding.

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