[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:07.65,0:00:09.53,Default,,0000,0000,0000,,If you're ever walking down the street
Dialogue: 0,0:00:09.53,0:00:13.38,Default,,0000,0000,0000,,and come across an oddly stretched out\Nimage, like this,
Dialogue: 0,0:00:13.38,0:00:17.00,Default,,0000,0000,0000,,you'll have an opportunity\Nto see something remarkable,
Dialogue: 0,0:00:17.00,0:00:20.49,Default,,0000,0000,0000,,but only if you stand in exactly\Nthe right spot.
Dialogue: 0,0:00:20.49,0:00:25.49,Default,,0000,0000,0000,,That happens because these works\Nemploy a technique called anamorphosis.
Dialogue: 0,0:00:25.49,0:00:28.76,Default,,0000,0000,0000,,Anamorphosis is a special case\Nof perspective art,
Dialogue: 0,0:00:28.76,0:00:31.79,Default,,0000,0000,0000,,where artists represent realistic\Nthree-dimensional views
Dialogue: 0,0:00:31.79,0:00:34.12,Default,,0000,0000,0000,,on two-dimensional surfaces.
Dialogue: 0,0:00:34.12,0:00:35.40,Default,,0000,0000,0000,,Though it's common today,
Dialogue: 0,0:00:35.40,0:00:40.13,Default,,0000,0000,0000,,this kind of perspective drawing has only\Nbeen around since the Italian Renaissance.
Dialogue: 0,0:00:40.13,0:00:43.40,Default,,0000,0000,0000,,Ancient art often showed all figures\Non the same plane,
Dialogue: 0,0:00:43.40,0:00:47.14,Default,,0000,0000,0000,,varying in size by symbolic importance.
Dialogue: 0,0:00:47.14,0:00:51.30,Default,,0000,0000,0000,,Classical Greek and Roman artists realized\Nthey could make objects seem further
Dialogue: 0,0:00:51.30,0:00:53.16,Default,,0000,0000,0000,,by drawing them smaller,
Dialogue: 0,0:00:53.16,0:00:58.54,Default,,0000,0000,0000,,but many earlier attempts at perspective\Nwere inconsistent or incorrect.
Dialogue: 0,0:00:58.54,0:01:00.54,Default,,0000,0000,0000,,In 15th century Florence,
Dialogue: 0,0:01:00.54,0:01:02.82,Default,,0000,0000,0000,,artists realized the illusion \Nof perspective
Dialogue: 0,0:01:02.82,0:01:05.95,Default,,0000,0000,0000,,could be achieved with higher degrees\Nof sophisitciation
Dialogue: 0,0:01:05.95,0:01:08.95,Default,,0000,0000,0000,,by applying mathematical principles.
Dialogue: 0,0:01:08.95,0:01:13.42,Default,,0000,0000,0000,,In 1485, Leonardo da Vinci \Nmanipulated the mathematics
Dialogue: 0,0:01:13.42,0:01:17.58,Default,,0000,0000,0000,,to create the first known \Nanamorphic drawing.
Dialogue: 0,0:01:17.58,0:01:20.85,Default,,0000,0000,0000,,A number of other artists later\Npicked up the technique,
Dialogue: 0,0:01:20.85,0:01:25.53,Default,,0000,0000,0000,,including Hans Holbein in The Ambassadors.
Dialogue: 0,0:01:25.53,0:01:29.42,Default,,0000,0000,0000,,This painting features a distorted\Nshape that forms into a skull
Dialogue: 0,0:01:29.42,0:01:32.66,Default,,0000,0000,0000,,as the viewer approaches from the side.
Dialogue: 0,0:01:32.66,0:01:35.76,Default,,0000,0000,0000,,In order to understand how artists\Nachieve that effect,
Dialogue: 0,0:01:35.76,0:01:39.84,Default,,0000,0000,0000,,we first have to understand how \Nperspective drawings work in general.
Dialogue: 0,0:01:39.84,0:01:41.73,Default,,0000,0000,0000,,Imagine looking out a window.
Dialogue: 0,0:01:41.73,0:01:44.70,Default,,0000,0000,0000,,Light bounces off objects \Nand into your eye,
Dialogue: 0,0:01:44.70,0:01:47.20,Default,,0000,0000,0000,,intersecting the window along the way.
Dialogue: 0,0:01:47.20,0:01:51.44,Default,,0000,0000,0000,,Now, imagine you could paint the image\Nyou see directly onto the window
Dialogue: 0,0:01:51.44,0:01:55.73,Default,,0000,0000,0000,,while standing still and keeping\Nonly one eye open.
Dialogue: 0,0:01:55.73,0:01:59.42,Default,,0000,0000,0000,,The result would be nearly\Nindistinguishable from the actual view
Dialogue: 0,0:01:59.42,0:02:02.46,Default,,0000,0000,0000,,with your brain adding depth\Nto the 2-D picture,
Dialogue: 0,0:02:02.46,0:02:04.46,Default,,0000,0000,0000,,but only from that one spot.
Dialogue: 0,0:02:04.46,0:02:06.63,Default,,0000,0000,0000,,Standing even just a bit off\Nto the side
Dialogue: 0,0:02:06.63,0:02:10.38,Default,,0000,0000,0000,,would make the drawing \Nlose its 3-D effect.
Dialogue: 0,0:02:10.38,0:02:12.31,Default,,0000,0000,0000,,Artists understand that \Na perspective drawing
Dialogue: 0,0:02:12.31,0:02:16.10,Default,,0000,0000,0000,,is just a projection\Nonto a 2-D plane.
Dialogue: 0,0:02:16.10,0:02:20.53,Default,,0000,0000,0000,,This allows them to use math to come up\Nwith basic rules of perspective
Dialogue: 0,0:02:20.53,0:02:23.97,Default,,0000,0000,0000,,that allow them to draw without a window.
Dialogue: 0,0:02:23.97,0:02:26.50,Default,,0000,0000,0000,,One is that parallel lines, like these,
Dialogue: 0,0:02:26.50,0:02:33.12,Default,,0000,0000,0000,,can only be drawn as parallel if they're\Nparallel to the plane of the canvas.
Dialogue: 0,0:02:33.12,0:02:36.78,Default,,0000,0000,0000,,Otherwise, they need to be drawn\Nconverging to a common point
Dialogue: 0,0:02:36.78,0:02:40.26,Default,,0000,0000,0000,,known as the vanishing point.
Dialogue: 0,0:02:40.26,0:02:43.01,Default,,0000,0000,0000,,So that's a standard prospective drawing.
Dialogue: 0,0:02:43.01,0:02:45.89,Default,,0000,0000,0000,,With an anamorphic drawing,\Nlike The Ambassadors,
Dialogue: 0,0:02:45.89,0:02:50.50,Default,,0000,0000,0000,,directly facing the canvas makes the image\Nlook stretched and distorted,
Dialogue: 0,0:02:50.50,0:02:54.07,Default,,0000,0000,0000,,but put your eye in exactly the right spot\Nway off to the side,
Dialogue: 0,0:02:54.07,0:02:56.92,Default,,0000,0000,0000,,and the skull materializes.
Dialogue: 0,0:02:56.92,0:02:58.53,Default,,0000,0000,0000,,Going back to the window analogy,
Dialogue: 0,0:02:58.53,0:03:03.08,Default,,0000,0000,0000,,it's as if the artist painted \Nonto a window positioned at an angle
Dialogue: 0,0:03:03.08,0:03:04.67,Default,,0000,0000,0000,,instead of straight on,
Dialogue: 0,0:03:04.67,0:03:08.81,Default,,0000,0000,0000,,though that's not how Renaissance artists\Nactually created anamorphic drawings.
Dialogue: 0,0:03:08.81,0:03:12.21,Default,,0000,0000,0000,,Typically, they draw a normal image \Nonto one surface,
Dialogue: 0,0:03:12.21,0:03:14.23,Default,,0000,0000,0000,,then use a light,
Dialogue: 0,0:03:14.23,0:03:15.47,Default,,0000,0000,0000,,a grid,
Dialogue: 0,0:03:15.47,0:03:20.12,Default,,0000,0000,0000,,or even strings to project it\Nonto a canvas at an angle.
Dialogue: 0,0:03:20.12,0:03:23.56,Default,,0000,0000,0000,,Now let's say you want to make\Nan anamorphic sidewalk drawing.
Dialogue: 0,0:03:23.56,0:03:25.100,Default,,0000,0000,0000,,In this case, you want to create\Nthe illusion
Dialogue: 0,0:03:25.100,0:03:30.43,Default,,0000,0000,0000,,that a 3-D image has been added\Nseamlessly into an existing seam.
Dialogue: 0,0:03:30.43,0:03:33.25,Default,,0000,0000,0000,,You can first put a window\Nin front of the sidewalk
Dialogue: 0,0:03:33.25,0:03:35.99,Default,,0000,0000,0000,,and draw what you want to add \Nonto the window.
Dialogue: 0,0:03:35.99,0:03:39.14,Default,,0000,0000,0000,,It should be in the same perspective\Nas the rest of the seam,
Dialogue: 0,0:03:39.14,0:03:43.13,Default,,0000,0000,0000,,which might require the use of those\Nbasic rules of perspective.
Dialogue: 0,0:03:43.13,0:03:44.54,Default,,0000,0000,0000,,Once the drawing's complete,
Dialogue: 0,0:03:44.54,0:03:46.98,Default,,0000,0000,0000,,you can use a projector placed \Nwhere your eye was
Dialogue: 0,0:03:46.98,0:03:49.58,Default,,0000,0000,0000,,to project your drawing down \Nonto the sidewalk,
Dialogue: 0,0:03:49.58,0:03:51.56,Default,,0000,0000,0000,,then chalk over it.
Dialogue: 0,0:03:51.56,0:03:54.01,Default,,0000,0000,0000,,The sidewalk drawing \Nand the drawing on the window
Dialogue: 0,0:03:54.01,0:03:57.70,Default,,0000,0000,0000,,will be nearly indistinguishable\Nfrom that point of view,
Dialogue: 0,0:03:57.70,0:04:00.09,Default,,0000,0000,0000,,so viewers' brains will again be tricked
Dialogue: 0,0:04:00.09,0:04:04.29,Default,,0000,0000,0000,,into believing that the drawing\Non the ground is three-dimensional.
Dialogue: 0,0:04:04.29,0:04:08.06,Default,,0000,0000,0000,,And you don't have to project onto\Na flat surface to create this illusion.
Dialogue: 0,0:04:08.06,0:04:10.32,Default,,0000,0000,0000,,You can project onto multiple surfaces,
Dialogue: 0,0:04:10.32,0:04:14.00,Default,,0000,0000,0000,,or assemble a jumble of objects,\Nthat from the right point of view,
Dialogue: 0,0:04:14.00,0:04:17.90,Default,,0000,0000,0000,,appears to be something else entirely.
Dialogue: 0,0:04:17.90,0:04:20.36,Default,,0000,0000,0000,,All over the planet, you can find\Nsolid surfaces
Dialogue: 0,0:04:20.36,0:04:23.73,Default,,0000,0000,0000,,giving way to strange, wonderful,\Nor terrifying visions.
Dialogue: 0,0:04:23.73,0:04:27.37,Default,,0000,0000,0000,,From your sidewalk \Nto your computer screen,
Dialogue: 0,0:04:27.37,0:04:30.98,Default,,0000,0000,0000,,these are just some of the ways\Nthat math and perspective
Dialogue: 0,0:04:30.98,0:04:33.43,Default,,0000,0000,0000,,can open up whole new worlds.