Feature-based image metamorphosis
SIGGRAPH '92 Proceedings of the 19th annual conference on Computer graphics and interactive techniques
Correction of geometric perceptual distortions in pictures
SIGGRAPH '95 Proceedings of the 22nd annual conference on Computer graphics and interactive techniques
Multiperspective panoramas for cel animation
Proceedings of the 24th annual conference on Computer graphics and interactive techniques
Multiple-center-of-projection images
Proceedings of the 25th annual conference on Computer graphics and interactive techniques
Digital Image Warping
Animating Chinese Landscape Paintings and Panorama Using Multi-Perspective Modeling
CGI '01 Computer Graphics International 2001
Multi-perspective images for visualisation
VIP '01 Proceedings of the Pan-Sydney area workshop on Visual information processing - Volume 11
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In 1739, Western perspective drawing reached Japan via China. Before then, Japanese drawing, known as Yamato-e, had depicted architectural space through parallel projection. This was true for the ukiyo-e compositions that were popular among the general public during the Edo Era as well (see Figure 1.a). For some time after perspective drawing reached Japan in 1739, ukiyo-e artists created ukiyo-e compositions that incorporated perspective drawing called uki-e (see Figure 1.b). However, this movement was short lived, and after 1800, ukiyo-e artists created compositions using their own type of structure that did not conform to perspective drawing. [Kuroda 17] [Oka 92] [Kishi 94] [Yokochi 95] Works from this time by artists such as Katsushika Hokusai and Utagawa Hiroshige also became influential in the West through the Japonism movement of the 1860s. Figure 2 typifies the style of ukiyo-e composition from the 1800s.