scholarly journals Adaptive phase-retrieval stochastic reconstruction with correlation functions: Three-dimensional images from two-dimensional cuts

2021 ◽  
Vol 104 (3) ◽  
Author(s):  
Aleksei Cherkasov ◽  
Andrey Ananev ◽  
Marina Karsanina ◽  
Aleksey Khlyupin ◽  
Kirill Gerke
Keyword(s):  
Correlation Functions ◽  
Phase Retrieval ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Stochastic Reconstruction ◽  
Three Dimensional Images

scholarly journals Visual Depth Perception of three dimensional images and two dimensional images

1990 ◽  
Vol 26 (Supplement) ◽  
pp. 248-249
Author(s):  
Am CHO ◽  
Kageyu NORO ◽  
Shinya KOSHIE ◽  
Atsuko HONDO ◽  
Sakae YAMAMOTO
Keyword(s):  
Depth Perception ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Visual Depth ◽  
Three Dimensional Images ◽  
Two Dimensional Images

Cross-correlation functions in two-dimensional and three-dimensional colloidal crystals

2001 ◽  
Vol 115 (23) ◽  
pp. 10945-10954 ◽  
Author(s):  
Yuichi N. Ohshima ◽  
Koushi E. Hatakeyam ◽  
Motoi Satake ◽  
Yumi Homma ◽  
Ryosuke Washidzu ◽  
...  
Keyword(s):  
Correlation Functions ◽  
Cross Correlation ◽  
Three Dimensional ◽  
Colloidal Crystals ◽  
Two Dimensional

Wayfaring Images

2018 ◽  
Author(s):  
Nathalie Collé-Bak
Keyword(s):  
Three Dimensional ◽  
Photographic Film ◽  
Two Dimensional ◽  
Book Market ◽  
Pilgrim's Progress ◽  
Cultural Boundaries ◽  
Three Dimensional Images ◽  
The Way

The Pilgrim’s Progress (1678; 1684) has been illustrated in many different forms and media, from its early days on the book market up until today. For over the last three centuries, John Bunyan’s allegory has inspired illustrators in numerous and varied ways, the images born of the text having materialized on book pages as well as on individual sheets, but also on canvas, photographic film, glass panes, and walls. Two-dimensional creations have also led the way to three-dimensional images, exhibited or performed in a variety of places and for a whole range of publics. This chapter contends that these sundry ‘illustrations’, by professional as well as amateur artists, have secured the diffusion and the popularity of the text through its temporal and geographical journeys, and across cultural boundaries.

Fictional Illustration Language with Reference to M. C. Escher and Istvan Orosz Examples

2017 ◽  
Vol 4 (11) ◽  
pp. 156-163
Author(s):  
Banu Bulduk Turkmen
Keyword(s):  
Visual Perception ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Technical Aspects ◽  
New Approaches ◽  
Alternative Approaches ◽  
The Subject ◽  
Three Dimensional Images

Alternative approaches in illustration language have constantly been developing in terms of material and technical aspects. Illustration languages also differ in terms of semantics and form. Differences in formal expressions for increasing the effect of the subject on the audience lead to diversity in the illustrations. M. C. Escher’s three-dimensional images to be perceived in a two-dimensional environment, together with mathematical and symmetry-oriented studies and the systematic formed by a numerical structure in its background, are associated with the notion of illustration in terms of fictional meaning. Istvan Orosz used the technique of anamorphosis and made it possible for people to see their perception abilities and visual perception sensitivities in different environments created by him. This study identifies new approaches and illustration languages based on the works of both artists, bringing an alternative proposition to illustration languages in terms of systematic sub-structure and fictional idea sketches. Keywords: Perception, illusion, illustration, fictional illustration, illustration languages, visual perception.

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