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English to Portuguese: Distorções espaciais e escorço General field: Other Detailed field: Art, Arts & Crafts, Painting
Source text - English Although distortion can be irregular or follow many patterns, the most commonly encountered distortions in composition, especially in photography, are radially symmetric, or approximately so, arising from the symmetry of a photographic lens.
A distortion is the alteration of the original shape (or other characteristic) of an object, image, sound, or other form of information or representation. Distortion can be wanted or unwanted by the artist. Distortion is usually unwanted when it concerns physical degradation of a work. However, it is more commonly referred to in terms of perspective, where it is employed to create realistic representations of space in two-dimensional works of art.
Perspective projection distortion is the inevitable misrepresentation of three-dimensional space when drawn or "projected" onto a two-dimensional surface. It is impossible to accurately depict three-dimensional reality on a two-dimensional plane. However, there are several constructs available that allow for seemingly accurate representation. The most common of these is perspective projection. Perspective projection can be used to mirror how the eye sees by making use of one or more vanishing points.
Foreshortening is the visual effect or optical illusion that causes an object or distance to appear shorter than it actually is because it is angled toward the viewer. Although foreshortening is an important element in art where visual perspective is being depicted, foreshortening occurs in other types of two-dimensional representations of three-dimensional scenes, such as oblique parallel projection drawings.
The physiological basis of visual foreshortening was undefined until the year 1000 when the Arabian mathematician and philosopher, Alhazen, in his Perspectiva, first explained that light projects conically into the eye. A method for presenting foreshortened geometry systematically onto a plane surface was unknown for another 300 years. The artist Giotto may have been the first to recognize that the image beheld by the eye is distorted: to the eye, parallel lines appear to intersect (like the distant edges of a path or road), whereas in "undistorted" nature, they do not. In many of Giotto's paintings, perspective is employed to achieve various distortion effects.
Source: Boundless. "Distortions of Space and Foreshortening." Boundless Art History Boundless, 3 mar. 2017. Retrieved 17 ago. 2017 from https://www.boundless.com/art-history/textbooks/boundless-art-history-textbook/thinking-and-talking-about-art-1/visual-elements-39/distortions-of-space-and-foreshortening-263-5305/
Under a CC BY-SA 4.0 License
Translation - Portuguese Apesar de as distorções poderem ser irregulares ou seguirem vários padrões, as distorções mais frequentemente encontradas na composição, principalmente na fotografia, possuem simetria radial ou próxima, causadas pela simetria da lente fotográfica.
Uma distorção é a alteração da forma (ou outra característica) original de um objeto, imagem, som ou outra forma de informação ou representação. A distorção pode ser desejada ou não pelo artista. Ela geralmente é indesejada quando está relacionada à degradação física de uma obra. No entanto, é mais comumente referida em termos de perspectiva, onde é empregada para criar representações realistas do espaço em obras de arte bidimensionais.
A distorção da projeção de perspectiva é o erro inevitável de representação do espaço tridimensional quando desenhado, ou “projetado”, em uma superfície bidimensional. É impossível representar com precisão a realidade tridimensional em um plano bidimensional. No entanto, existem várias costruções geométricas que permitem uma representação mais próxima da realidade. A mais comum dessas construções é a projeção de perspectiva. A projeção de perspectiva pode ser usada para espelhar o modo que o olho vê por meio de um ou mais pontos de fuga.
Escorço é o efeito visual ou ilusão de ótica que faz com que um objeto ou distância pareça mais curto do que realmente é, por estar inclinado em direção ao observador. Apesar de o escorço ser um elemento importante na arte quando a perspectiva visual é representada, o escorço ocorre em outros tipos de representações bidimensionais de cenas tridimensionais, como desenhos de projeção paralela oblíqua.
A base fisiológica do escorço visual não foi definida até o ano 1000, quando o matemático e filósofo árabe Alhazen, em sua obra Perspectiva, foi o primeiro a explicar que a luz se projeta no olho em forma cônica. Um método para representar sistematicamente a geometria em escorço em uma superfície plana só foi descoberto 300 anos depois. O artista Giotto pode ter sido o primeiro a reconhecer que a imagem vista pelo olho é distorcida: para o olho, linhas paralelas parecem se intersectar (como as bordas distantes de um caminho ou estrada), enquanto na natureza “sem distorções”, elas não se encontram. Em muitas obras de Giotto, a perspectiva é utilizada para obeter vários efeitos de distorção.
Fonte: Boundless. "Distortions of Space and Foreshortening." Boundless Art History Boundless, 3 mar. 2017. Retrieved 17 ago. 2017 from https://www.boundless.com/art-history/textbooks/boundless-art-history-textbook/thinking-and-talking-about-art-1/visual-elements-39/distortions-of-space-and-foreshortening-263-5305/
Sob a licença CC BY-SA 4.0
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