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Deformation It has been thought for a long time that how an artist deforms is the expression of his/her personality. Van Gogh has the method of van Gogh, and Gauguin has the way of Gauguin. Rouault and Modigliani also had their own ways. In the field of concrete paintings, there is a method to draw objects in nature as if they were photographs. However, most works in the present days are expressed using some deformation. Considering this, it is understood that an important position is occupied by deformation as a factor to composing a work. Therefore, the research of deformation is important. A few deformation methods (which painters do not frequently use) will be introduced. The first is the change of the coordinate. We usually become too accustomed to the rectangular coordinate. However, it may be interesting if you try to examine how a configuration changes when you use other coordinates. The second is an idea on light. After all, we see an object because light is refracted or reflected, and the shapes of the object are delivered to our eyes. So, unexpected results may be obtained if "reflection" and "refraction" are focused, and we try to play with the light. For example, an amazingly large deformed image can be obtained using a curved mirror to reflect the light. In other words, it has unexpectedness because it is not a small deformation within the expectation range. The function of this curved surface reflection was used, and distortion images (anamorphoses painting) occurred in the West. Though the name of a lens isn't being given to them, there are various things which function like lens as tools of refraction. Since each of them has unique refractive functions, it is also interesting to study them. As mentioned above, and the change of the coordinate,
deformation by mirrors, transfiguration and deformation by lenses, and
others will be discussed in Section 7.
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