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HIMmaterial: Exploring new hybrid media for immersive drawing and collage
Abstract
We propose an installation that explores Hybrid Immersive Models (HIM), the conjunction of digital VR panoramas with physical, handmade spherical perspectives and anamorphoses, as a new hybrid art medium that connects traditional drawing with digital, immersive art, creating a dialogue between material and immaterial forms of visual expression.
... The connection between spherical perspective drawings, their immersive anamorphoses, and the digital realization of these, leads to a notion of Hybrid Immersive Model (HIM), as a novel artistic medium [25] that connects the act of drawing by traditional processes with the new possibilities of digital visualizations. ...
... This discourages the beginner and limits advanced artists from using equirectangular perspectives in live presentations, as the untrained audience certainly cannot easily decode the perspective picture in their minds. Indeed, in some exhibitions already held [25,[31][32][33], visitors experimented many difficulties understanding the relation between the plane spherical perspective drawing and its correlated 3D rendering. For simple occasional enthusiastic visitors, the explanation might result too theoretical. ...
We discuss the design requirements of a software platform for constructing immersive environments through handmade spherical perspective drawings in a performative setting, with concurrent interactive live feed of the spherical drawing’s VR visualization. We investigate current best practices and available software in order to extract functionalities, requirements, improvements, possible integrations and future developments.
We map the base requirements of the software from three sources: the state of the art of drawing techniques for spherical perspectives (equirectangular, azimuthal equidistant and cubical), the available software for their practice and the experimentation with novel hybrid artefacts. For the latter, we use a node-based program that allows us to prototype the workflow before entering a pure coding stage.
The desired software platform should integrate well within digital art practices, stimulate and facilitate the practice of anamorphic handmade spherical drawings, and expand spherical perspectives’ applications through the emerging media of Hybrid Immersive Models (HIMs).
... At the same time, the same drawing suggests the users to cut it and to build a physical paper sphere to interact/play with in the real world. It is a mirror effect: in the digital dimension, users enter into the sphere, in the analogue dimension, users interact with the sphere from outside (Araújo et al. 2019;Masiero Sgrinzatto 2023). 2000eyes was disseminated also by a 100 pieces limited edition paper-sphere kit on sale at the theatre's bookshop. ...
In the interdisciplinary landscape shaped by Digital Humanities (DH) and Data Humanism (DHu), panoramas represent immersive narratives and interactive environments that simplify access to complex, interdisciplinary content, serving as ‘sensory forms of knowledge’. However, the lack of shared definitions hinders their integration into cultural sectors, where professionals often struggle with the rapid adoption of new technologies. Therefore, this study highlights 31 panorama case studies as examples of their triggering effect and as a foundation for broader collaborative theoretical work aimed at developing standardised definitions.
... Hence a handmade drawing done in this perspective can be easily viewed as a VR panorama using software readily available even in social platforms like facebook. This simplifies the creation of so-called hybrid models [23], [24], objects straddling the material and the digital field, that are increasingly being used as both artistic media [25], [26], [27] and for technical application in architecture, design, and heritage survey and dissemination [24]. This is an emergent field in which both theoretical methods and computer tool are still being developed [28] and yet it can easily be presented to young students in a very practical way, through the use of perspective grids. ...
... The details of the machinery apart, the geometry used in VR, AR, and MR, in immersive photography, video mapping and full dome projections is still the same as what was used to draw the anamorphoses of Niceron and Pozzo, or Robert Barker's immersive panoramas that so dazzled 19th century crowds (Grau 1999;Huhtamo 2013). Hence these concepts, properly reformulated, have didactic, artistic, and technological possibilities still to be explored, and indeed several researchers and artists have lately investigated, through mathematical, technological and artistic works, the possibilities of such connections between the digital and physical notions of anamorphosis, and the hybrids in between Araújo et al (2019a); Michel (2013); Rossi et al (2018). This chapter arose from such explorations, as well as from an extensive teaching experience of these concepts to a varied audience ranging from school children just starting out in their studies of perspective and descriptive geometry (Araújo 2017c), to working illustrators, to Ph.D. students of digital media art looking to better understand the underlying concepts hidden in the often opaque digital black boxes that serve as their tools Araújo (2017b). ...
We discuss a definition of conical anamorphosis that sets it at the foundation of both classical and curvilinear perspectives. In this view, anamorphosis is an equivalence relation between three-dimensional objects, which includes two-dimensional representatives, not necessarily flat. Vanishing points are defined in a canonical way that is maximally symmetric, with exactly two vanishing points for every line. The definition of the vanishing set works at the level of anamorphosis, before perspective is defined, with no need for a projection surface. Finally, perspective is defined as a flat representation of the visual data in the anamorphosis. This schema applies to both linear and curvilinear perspectives and is naturally adapted to immersive perspectives, such as the spherical perspectives. Mathematically, the view here presented is that the sphere and not the projective plane is the natural manifold of visual data up to anamorphic equivalence. We consider how this notion of anamorphosis may help to dispel some long-standing philosophical misconceptions regarding the nature of perspective.
... These latter cases relate naturally to VR visualizations, using the perspective drawings as data sources for VR panoramas. This establishes an interesting connection between the development of hand drawn perspectives and immersive computer graphics, at both a theoretical and artistic level (Araújo et al 2019;Olivero et al 2019b). Spherical perspective had become somewhat split after Flocon and Barre, with handmade practice being handled mostly by gridding or had-hoc sketching with little new mathematical insight, and most new developments taking place at the computational level in ways that required computers to render a scene (see for instance the software of Correia et al (2013) which can render a scene in parametric curvilinear perspectives). ...
We survey the present state of spherical perspective, regarding both mathematical structure and drawing practice, with a view to applications in the visual arts. We define a spherical perspective as the entailment of a conical anamorphosis with a compact flattening of the visual sphere. We examine a general framework for solving spherical perspectives, exemplified with the azimuthal equidistant (“fisheye”) and equirectangular cases. We consider the relation between spherical and curvilinear perspectives. We briefly discuss computer renderings but focus on methods adapted to freehand sketching or technical drawing with simple instruments such as ruler and compass. We discuss how handmade spherical perspective drawings can generate immersive anamorphoses, which can be rendered as virtual reality panoramas, leading to hybrid visual creations that bridge the gap between traditional drawing and digital environments.
... The technical relation between these spherical perspectives and the source data for VR panoramas creates a link between handmade spherical perspectives, drawn with traditional tools, and digital immersive visualizations, opening the way to hybrid models, that is, artworks that have both a physical and a digital realization, and an artistic process that is similarly a mix between physical and digital. A recent exhibition displayed such hybrid models [6], shown in triple form; as flat perspective drawings hand-drawn in cubical or equirectangular perspectives; as physical models (painted spheres or cubes) in the tradition of Dick Termes' spherical paintings [7], [8], and as immersive visualizations, to be seen from within. These hybrid models have applications to several fields, from art to entertainment, to architectural design [9]. ...
Spherical perspective provides a connection between traditional handmade drawings and virtual reality environments, which can be exploited to create new forms of hybrid immersive artworks. We discuss the use of GeoGebra tools as auxiliary software for the creation of immersive designs in azimuthal equidistant (360-degree fisheye) spherical perspective.
Book of Proceedings of 3rd International Conference on Digital Creation in Arts, Media and Technology – Emerging Extended Realities (ARTeFACTo 2022 Macao), held on 24, 25 Nov. 2022 at Ilha Verde campus, University of Saint Joseph, Macau.
Book editors: Gerald Estadieu, Filipa Martins de Abreu, Carlos Sena Caires & Adérito Fernandes-Marcos.
“2000 eyes” is an artwork made for the Gran Teatro La Fenice di Venezia. It is a handmade spherical perspective drawn from observation in equirectangular projection, on the occasion of the special setup “Chiglia” (keel) designed during the Covid-19 Pandemic. This experimental project aims at testing practices and techniques to create gigapixel hand-drawn panoramic views of complex environments from observation and showing how the use of 360° drawings may enhance the perception of artworks and spaces, adding value to the visitor’s experience. The original panoramic drawing and its interactive 360° version are currently exhibited in one of the halls of the Theater. The permanent installation presents one possible way to experience an artwork focusing on the intersection of digital and physical worlds.Keywordsspherical illustrationequirectangular drawingVR illustrationartwork digitizationart installation
The paper introduces a hand-drawn 360º illustration designed for commercial purposes in the framework of the project titled Venice Original. It focuses on different aspects of the creation of the artwork: the commissioning, the drawing technique, the connection to the e-commerce platform, and the several modalities of interaction. Subsequently, it gives an overview of the reception of the 360º interactive illustration on the e-commerce platform by different audiences, thanks to web statistics and user comments on the social networks. Finally, it presents the installation shown at the “Contingency” exhibition in the framework of the congress ARTECH 2021 in Aveiro, Portugal. The physical modality of the installation consisted of the original equirectangular drawing and physical paper spheres; the virtual one offered a VR tour of the illustrated space. The opinions gathered from conference attendants shed new light on the artwork, suggesting possible improvements and further developments.
There are currently very few options for executing live spherical drawings for an audience. This work presents an artefact which demonstrates one possible way to achieve such drawings in a performative setting with concurrent interactive live feed of the spherical drawing's VR visualization. The authors aim at stimulating the under-explored form of expression that spherical perspectives represent by facilitating, demonstrating, opening, and extending their use both with general applications and in particular with digital art live presentations.
To highlight the artefact's utility, we consider the state of art of drawing techniques for different spherical perspectives (equirectangular, azimuthal equidistant, cubical) and the software available for their practice. The artefact processes various inputs into one mixed output. The inputs are a drawing generated either with traditional or digital techniques, and OSC data taken from an external device. The output is a classical perspective projected onto a screen (optionally also on a mobile device).
The software has been made with node-based programming: the free non-commercial version of TouchDesigner, which allowed us to evaluate the workflow with great versatility and a good integration with Python before entering a coding stage.
The artefact is tested within the exhibition “I'm watching you/me” (IMWYM), which is part of Lufo Art project. The live presentation explores and explodes Hybrid Immersive Models (HIMs) within digital art and uses the artefact as a way of expanding spherical perspectives’ applications.
Soft skills training is considered important for employees to be successful at work. Several companies are offering immersive virtual soft skills training with head-mounted displays. The main contribution of this paper is to provide an overview of the research literature within the field of using immersive virtual soft skills learning and training of employees. The results of this preliminary scoping review show that there is a lack of research literature and empirical studies within this topic.
The 7th International Conference of the Immersive Learning Research Network (iLRN 2021) is an innovative and interactive virtual gathering for a strengthening global network of researchers and practitioners collaborating to develop the scientific, technical, and applied potential of immersive learning. It is the premier scholarly event focusing on advances in the use of virtual reality (VR), augmented reality (AR), mixed reality (MR), and other extended reality (XR) technologies to support learners across the full span of learning—from K-12 through higher-education to workbased, informal, and lifelong learning contexts.
Following the success of iLRN 2020, our first fully online and in-VR conference, this year’s
conference was once again based on the iLRN Virtual Campus, powered by ©Virbela, but with a range of activities taking place on various other XR simulation, gaming, and other platforms.
Scholars and professionals working from informal and formal education settings as well as those representing diverse industry sectors are invited to participate in the conference, where they may share their research findings, experiences, and insights; network and establish partnerships to envision and shape the future of XR and immersive technologies for learning; and contribute to the emerging scholarly knowledge base on how these technologies can be used to create experiences that educate, engage, and excite learners.
Cubical perspective is maybe the youngest alternative
among the options for immersive drawing. Its theoretical
definition, as every immersive perspective, has its pros
and cons. Furthermore, its utility has not been fully explored,
e.g. for early conceptual design. In fact, while its theory
is on its way to being solved with different methods, there
is still a doubtful judgement about the practice: is cubical
perspective a way to think? A tool? Can we do something
different with it, or are we just playing with technology? Let
us try to give some answers to these questions by presenting
some experiences held in university classrooms. We are
presenting the experience of architecture, engineering and
product design students that have applied cubical perspective
to the creation of immersive panoramas subsequently
assembled into a virtual tour. This article, more than closing
a discussion, aims at opening the debate about the real
applications and utility of cubical perspective and push for
experimentation.
Cubic perspective is an attractive option for drawing vr panoramas, as it carries with it the familiarity of classical perspective and its ease of drawing line segments. Its simplicity is however only apparent as the transition of line images between the various planes of the cube can be baffling to the draughtsman. We argue that the best way to systematize this perspective is to see it fully as a spherical perspective and start by classifying and rendering its geodesics.
Keywords
vr, cubical perspective, spherical projection, immersion
Abstract
Los resultados de esta investigación están destinados al estudio del complejo sistema de representación generado a través de imágenes inmersivas. El objetivo general es transferir las técnicas que caracterizan los modelos inmersivos generados con imágenes raster a modelos inmersivos generados a partir de dibujos vectoriales, sin limitarnos a una mera sustitución del ente geométrico elemental punto (o píxel) con la línea. Para ello, se codifican las transformaciones desde las vistas bidimensionales a la panorámica inmersiva. Se propone un avance del estado del arte, reconduciendo los estudios al ámbito de la geometría descriptiva, ampliando el cono de visión a los 360º del espacio que rodean al observador. El trabajo se vale de estudios anteriores sobre modelos híbridos inmersivos, la proyección equirectangular y la cúbica. El estado del arte que se asume como base de partida se caracteriza de una bibliografía completa para la equirectangular, sea con propuestas de métodos intuitivos como con métodos matemáticos mientras que para la proyección cúbica los procedimientos usados hasta hoy son solamente aproximados y desprovistos del necesario marco teórico completo. El método puesto en juego prevé, como pasaje obligado, el desarrollo formulaciones geométricas que servirán de base a formulaciones matemáticas. Anunciando pasos futuros, el contenido presentado en términos gráficos, buscará ser sintetizado en un algoritmo de gráfica digital escrito ad-hoc, para sentar las fundaciones de una nueva técnica avanzada de representación.
Analogical sketch is recovering an own centrality inside teaching of the base courses in civil engineering and architecture, opening the limitation to the drawing fields from last times. In effect, today we are seeing a deep integration between different ways of representation, leaving behind finally, the useless debate between analogical and digital representation. In this direction, the work aims to approach new research paths, experimenting into infographic models’ potentiality, like immersion, but made from analogical handmade sketches, generating then a hybrid language of representation.
In this workshop we will learn how to draw a 360-degree view of our environment using spherical perspective, and how to visualize these drawings as immersive panoramas by uploading them to virtual reality platforms that provide an interactive visualization of a 3D reconstruction of the original scene. We shall show how to construct these drawing in a simple way, using ruler and compass constructions, facilitated by adequate gridding that takes advantage of the symmetry groups of these spherical perspectives. We will consider two spherical perspectives: equirectangular and azimuthal equidistant, with a focus on the former due to its seamless integration with visualization software readily available on social networks. We will stress the relationship between these panoramas and the notion of spherical anamorphosis.
We describe a construction of a total spherical perspective using a ruler, compass, and nail. This is a generalization of the spherical perspective of Barre and Flocon to a 360-degree field of view. Since the 1960s, several generalizations of this perspective have been proposed, but they were either works of a computational nature, inadequate for drawing with simple instruments, or lacked a general method for solving all vanishing points. We establish a general setup for anamorphosis and central perspective, define total spherical perspective within this framework, study its topology, and show how to solve it with simple instruments. We consider its uses both in freehand drawing and in computer visualization, and its relation to the problem of reflection on a sphere.
This work presents a method for drawing Virtual Reality panoramas by ruler and compass operations. VR panoramas are immersive anamorphoses rendered from equirectangular spherical perspective data. This data is usually photographic, but some artists are creating hand-drawn equirectangular perspectives to be visualized in VR. This practice, that lies interestingly at the interface between analog and digital drawing, is hindered by a lack of method, as these drawings are usually done by trial-and-error, with ad-hoc measurements and interpolation of pre-computed grids, a process with considerable artistic limitations. I develop here the analytic tools for plotting all great circles, line images and their vanishing points, and then show how to achieve these constructions through descriptive geometry diagrams that can be executed using only ruler, compass, and protractor. Approximations of line images by circular arcs and sinusoids are shown to have acceptable errors for low values of angular elevation. The symmetries of the perspective are studied and their uses for improving gridding methods are discussed.
Tracing the cultural, material, and discursive history of an early manifestation of media culture in the making.
Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved—hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a “window” by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country.
In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.
The author describes a method for constructing a five-point perspective, outlines a procedure for establishing depth within such a drawing, develops a proof of his method, and then places his work within the context of recent literature.
In this paper a new system of visual representation, Flat-Sphere Perspective, is developed. With Flat-Sphere Perspective, an image of the entire visual space around an observer can be represented on a flat surface. The system integrates in a coherent and continuous image the many instantaneous views a human observer perceives as he turns his head. This new perspective system furnishes the contemporary artist with a new representational format that corresponds more closely to the geometrical and perceptual principles governing visual perception than any other system hitherto devised.
Various techniques have been developed that employ projections of the world as seen from a particular viewpoint. Blinn and Newell introduced reflection mapping for simulating mirror reflections on curved surfaces. Miller and Hoffman have presented a general illumination model based on environment mapping. World projections have also been used to model distant objects and to produce pictures with the fish-eye distortion required for Omnimax frames. This article proposes a uniform framework for representing and using world projections and argues that the best general-purpose representation is the is projection onto a cube. Surface shading and texture filtering are discussed in the context of environment mapping, and methods are presented for obtaining diffuse and specular surface illumination from prefiltered environment maps. Comparisons are made with ray tracing, noting that two problems with ray tracing¿obtaining diffuse reflection and antialiasing specular reflection¿can be handled effectively by environment mapping.
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