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Zeitschriftenartikel zum Thema "Painting manuals"
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Warner, Lyndan. „Kinship Riddles“. Genealogy 6, Nr. 2 (12.05.2022): 43. http://dx.doi.org/10.3390/genealogy6020043.
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In the medieval to early modern eras, legal manuals used visual cues to help teach the church laws of consanguinity and affinity as well as concepts of inheritance. Visual aids such as the trees of consanguinity or affinity helped the viewer such as a notary, law student or member of the clergy to do the ‘computation,’ or reckon how closely kin were related to each other by blood or by marriage and by lines of descent or collateral relations. Printed riddles in these early legal manuals were exercises to test how well the reader could calculate whether a marriage should be deemed incest. The riddles moved from legal textbooks into visual culture in the form of paintings and cheap broadside prints. This article examines a riddle painting ‘devoted’ to William Cecil when he was Elizabeth I’s principal secretary, before he became Lord Burghley and explores the painting’s links to the Dutch and Flemish kinship riddles circulating in the Low Countries in manuscript, print and painting. Cecil had a keen interest in genealogies and pedigrees as well as puzzles and ciphers. As a remarried widower with an eldest son from a first marriage and children from his longer second marriage, Cecil lived in a stepfamily typical of the sixteenth century in England and Europe. The visual kinship riddles in England and the Low Countries had a common root but branched into separate traditions. A shared element was the young woman at the centre of the images. To solve the riddle the viewer needed to determine how all the men in the painting were related to her as if she were the ego, or self, at the centre of a consanguinity tree. This article seeks to compare the elements that connect and diverge in the visual kinship riddle traditions of the sixteenth and seventeenth centuries in the Low Countries and England.
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Mastrotheodoros, Georgios P., und Konstantinos G. Beltsios. „Original Varnish Recipes in Post-Byzantine Painting Manuals“. Heritage 4, Nr. 4 (17.10.2021): 3572–82. http://dx.doi.org/10.3390/heritage4040197.
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During the last decades, manuscripts have become increasingly available through digitization and deposition in online repositories. This trend has very much facilitated primary source research, as scholars are no longer subjected to time- and effort-consuming processes such as travel, applications for photography permissions, and so on. In this framework, the authors set forth the results of research that deals with post-Byzantine panel-painting varnish recipes which were found in a hitherto unpublished Greek painting manual dating back to 1824. The recipes in consideration are compared to those existing in the renowned “Hermeneia” by Dionysios of Fourna (early 18th century) painter’s manual. A brief discussion dealing with various pertinent terms, along with a note on data deriving from the analytical investigation of varnish samples stemming from post-Byzantine icons are also included in this work. The study reveals a shift towards lean and intermediate varnish recipes during the early 19th century that might reflect the progression of resins and oleoresins, and the gradual replacement of oil-based varnishes. In addition, a unique recipe describing various methods of varnish application is transcribed and commented upon. Finally, the analytical data revealed an unexpected employment of a protein-based varnish in a mid-19th century icon.
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Trevisan, Sara. „The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*“. Renaissance Quarterly 66, Nr. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.
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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.
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Bologna, Francesca. „Water and stone: the economics of wall-painting in Pompeii (A.D. 62-79)“. Journal of Roman Archaeology 32 (2019): 97–128. http://dx.doi.org/10.1017/s1047759419000072.
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This article investigates production times, workforce, and materials involved in the creation of wall-paintings, applying figures obtained from pre-industrial building manuals and through experimental archaeology. This is a crucial yet — at least with regard to Roman wall-painting – unexploited avenue for research, one that has already been successfully applied to the study of ancient construction, stone-working, and mosaic production.1 The implications of this type of study are twofold: estimating labour figures allows us to assess painters’ working practices and workforce organization, yet it can also help uncover the burden sustained by patrons in both economic and personal terms, thereby providing a more realistic notion of what it meant to have one’s house decorated. Ultimately, this can lead to a better understanding of local markets and of the socio-economic implications of the wall-painting industry
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Bolshakova, Svetlana Evgenievna. „Valaam Monastery School of Painting“. Secreta Artis, Nr. 4 (21.01.2021): 41–72. http://dx.doi.org/10.51236/2618-7140-2020-3-4-41-72.
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The article is dedicated to the formation of Valaam’s own school of painting for monks and novices of the monastery. This process consisted of several stages connected to both the historical development of the monastery itself, as well as the expanding influence of the Russian Imperial Academy of Arts. The official establishment of the painting school, which trained artists according to academic methods, dates back to the late 19th – early 20th centuries. The entire preceding history of the monastery paved the way for the inauguration of the school. In particular, the monastery gathered a carefully selected collection of engravings and reproductions of famous religious paintings, art manuals, human anatomy atlases and picturesque copies of popular works of art. Construction of the new Transfiguration Cathedral, to be supposedly painted by monastery artists, provided the main impetus for the eventual opening of the school. Gifted Valaam monks Alipiy (Konstantinov) and Luka (Bogdanov), as well as a student of the Russian Academy of Arts, V. A. Bondarenko, taught at the monastery’s school. Among some of the most diligent students of the school were hegumen Gavrill (Gavrilov), the main proponent of its establishment and its trustee, along with monk Fotiy (Yablokov), the future head of the icon painting workshop. The school continued to operate until the monks of the Valaam Monastery were forced to flee to Finland as a result of hostilities that broke out in the archipelago during the Soviet-Finnish war of 1939–1940.
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Carlyle, Leslie. „Paint Driers Discussed in 19th-Century British Oil Painting Manuals“. Journal of the American Institute for Conservation 38, Nr. 1 (1999): 69. http://dx.doi.org/10.2307/3179839.
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Carlyle, Leslie. „Paint Driers Discussed in 19th-Century British Oil Painting Manuals“. Journal of the American Institute for Conservation 38, Nr. 1 (Januar 1999): 69–82. http://dx.doi.org/10.1179/019713699806113538.
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Moutafov, Emmanuel. „Post-Byzantine hermeneiai zographikes in the eighteenth century and their dissemination in the Balkans during the nineteenth century“. Byzantine and Modern Greek Studies 30, Nr. 1 (2006): 69–79. http://dx.doi.org/10.1017/s0307013100015056.
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This article focuses on the significance of the Orthodox painters’ manuals, called hermeneiai zographikes, in the development of post-Byzantine iconography and painting technology and techniques in the Balkans during the eighteenth and nineteenth centuries. Using a number of unpublished painters’ manuals (Greek and Slavonic) as primary sources for the study of Christian and Ottoman culture in the Balkan peninsula, it is possible to examine perceptions of Europe in the Balkans, in particular the principal routes for the transmission of ideas of the European Enlightenment, as well as the role of artists as mediators in the processes of ‘Europeanization'.
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Houghteling, Sylvia. „Dyeing the Springtime: The Art and Poetry of Fleeting Textile Colors in Medieval and Early Modern South Asia“. Religions 11, Nr. 12 (24.11.2020): 627. http://dx.doi.org/10.3390/rel11120627.
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This paper explores the metaphorical and material significance of short-lived fabric dyes in medieval and early modern South Asian art, literature, and religious practice. It explores dyers’ manuals, paintings, textiles, and popular and devotional poetry to demonstrate how the existence of ephemeral dyes opened up possibilities for mutability that cannot be found within more stable, mineral pigments, set down on paper in painting. While the relationship between the image and the word in South Asian art is most often mutually enhancing, the relationship between words and color, and particularly between poetry and dye color, operates on a much more slippery basis. In the visual and literary arts of South Asia, dye colors offered textile artists and poets alike a palette of vibrant hues and a way to capture shifts in emotions and modes of devotion that retained a sense of impermanence. More broadly, these fragile, fleeting dye materials reaffirm the importance of tracing the local and regional histories even of objects, like textiles, that circulated globally.
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Oh, Heyjin. „Imitation and Creation of Late Joseon Period Southern School-style Literati Landscape Paintings : The Acceptance of Painting Manuals’ Categorizing System“. Art History Forum 42 (30.06.2016): 59–82. http://dx.doi.org/10.14380/ahf.2016.42.59.
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Carlyle, Leslie. „The artist's assistant : oil painting instruction manuals and handbooks in Britain 1800-1900 : with reference to selected eighteenth-century sources /“. London : Archetype, 2001. http://catalogue.bnf.fr/ark:/12148/cb38879533t.
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Carlyle, Leslie Anne. „A critical analysis of artists' handbooks, manuals and treatises on oil painting published in Britain between 1800-1900 : with reference to selected eighteenth century sources“. Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320006.
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Carvalho, Zínia Maria Cavalheiro de. „Restauração de quadros e gravuras de Manuel de Macedo (1885): um manual técnico para promover o respeito pelas relíquias do passado“. Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/13309.
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Previous issue date: 2015-03-06Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis studies the restoration and preservation of Works of Art, with focus on the volume 112 from the Bibliotheca do Povo e das Escolas collection, entitled Restauração de Quadros e Gravuras, which was written by Manuel de Macedo and published in 1885. The collection aimed to compile curiosities and interests in studies, raising the interest in Reading. The volumes were written in ways that nonintelectuals could make use of its content. The volume selected for analysis shines a light on the value and preservation of monuments and precious artefacts found in the ancient art , as the author states in the Preface. This manual raises questions like Originality, forgery, conservation and restoration procedures, used materials, techniques of paintings and prints, that up to today are still subject of discussion, without cleared and difined standards. The research arises in the history of Science interface and technical studies on conservation and restoration in the eighteenth and nineteenth centuries, which marked the beginning of the practical and theoretical discussions on the preservation of historical heritage
O estudo realizado nesta dissertação a respeito da restauração e da conservação foca o volume 112 da coleção Bibliotheca do Povo e das Escolas, intitulado Restauração de Quadros e Gravuras, o qual foi escrito por Manuel de Macedo e publicado em 1885. Essa coleção tinha como propósito suprir curiosidades e interesses em estudos e incentivar a leitura, sendo preparada de modo que o leigo pudesse usufruir do conteúdo. O volume selecionado para análise é destinado a tratar do valor e da conservação dos monumentos e artefatos preciosos da arte antiga , como diz o autor no prefácio. Esse manual traz questões como originalidade, falsificação, os procedimentos de conservação e restauração, tipos de materiais utilizados, técnicas de pintura e gravura, que ainda hoje são aspectos em discussão, os quais não possuem parâmetros totalmente definidos. Nossa pesquisa se coloca na interface da história da ciência e da técnica com estudos sobre conservação e restauro nos séculos XVIII e XIX, marcados pelo início das discussões práticas e teóricas sobre a preservação do patrimônio histórico
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Freni, Valentina. „Apport de l'imagerie scientifique à la caractérisation des pigments des œuvres du peintre orientaliste Etienne Dinet“. Electronic Thesis or Diss., Sorbonne université, 2020. http://www.theses.fr/2020SORUS261.
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Au cours de cette recherche, nous avons contribué à l’étude et à la caractérisation des pigments utilisés par le peintre français Étienne Dinet à l’aube du XXe siècle. Notre approche a consisté à nous appuyer sur les manuels de peinture écrits par le peintre (Les fléaux de la peinture) dans lesquels il expose sa recherche des matériaux à utiliser en peinture. En nous basant sur ces écrits, nous avons créé une base de données de photographies scientifiques et de spectres de réflectance (visible et proche infrarouge) pour pouvoir déterminer les pigments employés dans ses tableaux. Sept tableaux ont ensuite étudié. L’imagerie scientifique nous a permis de caractériser la palette du peintre, en particulier lorsque nous avons eu la possibilité d’associer plusieurs techniques d’analyse produisant des données complémentaires. Nous avons ainsi montré l’intérêt d’employer simultanément un ensemble de techniques non invasives d’imagerie pour la caractérisation des pigments : aucun prélèvement de matière picturale n’est nécessaire et la faible quantité de lumière irradiant l’œuvre durant les mesures n’affecte pas sa conservation. La photographie technique peut fournir de nombreuses informations sur l’état de conservation d’une peinture et nous permet de détecter les interventions de restaurations effectuées au cours du temps. Elle nous permet aussi de formuler des hypothèses sur la palette du peintre. Pour confirmer ces hypothèses, il est nécessaire d’effectuer des analyses comme la fluorescence des rayons X et l’imagerie hyperspectrale, qui fournissent des informations plus précises et dont l’interprétation est plus certaineThis research aims to contribute to the study and characterization of the pigments used by the French painter Étienne Dinet at the dawn of the 20th century. Our approach draws on painting manuals written by the artist (Les fléaux de la peinture), in which he shows his search for materials to be used in painting. Based on these writings, a database of scientific photographs and reflectance spectra (visible and near infrared) was created to determine the pigments used in his paintings. Seven paintings were then studied. Scientific imaging enabled us to characterize the painter’s palette, especially when we had the opportunity to combine several analytical techniques producing complementary data. We have thus shown the value of using a set of non-invasive imaging techniques simultaneously for pigment characterization: no pictorial material is required and the low amount of light radiation during measurements does not affect its conservation. Technical photography can provide a lot of information about the state of preservation of a painting and allows us to detect restoration interventions done over time. It also allows us to make hypotheses about the painter’s palette. To confirm these hypotheses, analyses such as X-ray fluorescence and hyperspectral imaging, which provide more accurate information and more direct interpretation, are required
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Soler, Moreno Laia. „Manuel Rocamora Vidal (1892 - 1976): col·leccionista i pintor“. Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/668322.
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La present tesi doctoral es centra en la figura de Manuel Rocamora Vidal (Barcelona, 1892-1976), col·leccionista, pintor, escriptor i promotor cultural. És especialment conegut com a col·leccionista d’indumentària antiga, aplegant un important conjunt de peces femenines, masculines, infantils i litúrgiques, així com els seus accessoris, des del segle XIV fins al segle XX, essent especialment nombroses les pertanyents als segles XVIII i XIX. Per aquest motiu, la resta de facetes del personatge s’han vist oblidades, i és per això que l’objectiu de la investigació és donar a conèixer totes les seves ocupacions i analitzar l’aportació i la importància global de Manuel Rocamora. L’estudi comença amb una semblança biogràfica del personatge, així com del seu cercle familiar i social, que ens ajuda a ubicar-lo dins el context artístic i burgès de la Barcelona del segle XX. A continuació es tracta la vessant més important, que és la del col·leccionisme, on s’emfatitza que, a part del seu recull d’indumentària, va configurar moltes altres sèries: nines i autòmats, pintura, ceràmica, mascarons de proa, reclams publicitaris, targes de visita, exlibris, etc. Moltes de les seves col·leccions varen ser prestades a exposicions o bé donades a diferents museus d’arreu de Catalunya i de Madrid, a part de conservar-se una selecció a la seva pròpia residència. Es destaca especialment la indumentària, fent un estudi sobre les seves peces més importants, el seu valor en conjunt, la formació de la col·lecció i la trajectòria per diversos museus, motivada per les donacions parcials a la Junta de Museus i als Museus d’Art de Barcelona, per ser definitivament donada a l’Ajuntament de Barcelona. Aquesta circumstància comportaria la constitució d’un museu propi situat al Palau del Marquès de Llió del carrer Montcada. Tot seguit s’aporta una panoràmica sobre la seva carrera com a pintor, participant en nombroses exposicions, tant individuals com col·lectives, a conegudes galeries barcelonines com La Pinacoteca o les Galeries Laietanes. A més, s’inclou un catàleg raonat de la seva producció. Igualment es fa esment a l’escriptura, amb una relació de les obres publicades; i a la labor com a promotor cultural dins l’àmbit barceloní, on fundà i promogué diverses associacions. Per últim es tracta la constitució de la Fundación Cultural Privada Rocamora, institució que preserva el seu llegat i fou creada a la mateixa residència de Rocamora després de la seva mort.This doctoral thesis focuses on the figure of Manuel Rocamora Vidal (Barcelona, 1892-1976), collector, painter, writer and cultural promoter. He is best known as a collector of historical clothing, including an important set of women’s, men’s, children’s and liturgical pieces, as well as their accessories, from the fourteenth to the twentieth century, being especially numerous those belonging to the eighteenth and the nineteenth century. For this reason, the other facets of the character have been forgotten, which is why the aim of the research is to let know all his occupations and analyse the contribution and overall importance of Manuel Rocamora. The study begins with his biography, along with information about his family and social circle, which helps us to situate him in the artistic and bourgeois context of the twentieth century in Barcelona. Next is detailed the most important aspect, which is the collectionism, where it is emphasised that, apart from its clothing collection, he reunited many other series: dolls and automata, painting, ceramics, figureheads, advertising items, business cards, exlibris, etc. A lot of his collections were lent at exhibitions or donated to different museums around Catalonia and Madrid, apart from keeping a selection inside his own home. The clothing collection is specially highlighted. This work studies the most important pieces, its overall value, the formation of the collection and its trajectory between various museums, motivated by partial donations to the Junta de Museus and Museus d’Art de Barcelona, to be finally donated to the City Council of Barcelona. This circumstance would imply the constitution of a collector’s museum located at the Marquis of Llió Palace in Montcada Street. Next there is an overview of his career as a painter, since Rocamora participated in numerous exhibitions, both individual and collective, in remarkable art galleries of Barcelona such as La Pinacoteca or Galeries Laietanes. Moreover, it is included a catalogue raisonné of the artist’s work. Also it is referenced his writing, with a list of published works; and his labour as a cultural promoter especially in Barcelona, where he founded and promoted various associations. Finally, it is addressed the constitution of the Fundación Cultural Privada Rocmamora, an institution that preserves the collector’s legacy and was created in his residence right after his death.
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Pereira, Franciane de Souza. „TENSÕES INVENTIVAS NA OBRA MANUAL DE PINTURA E CALIGRAFIA, DE JOSÉ SARAMAGO“. Pontifícia Universidade Católica de Goiás, 2016. http://localhost:8080/tede/handle/tede/3259.
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Previous issue date: 2016-02-23The literature based on the book Manual of painting and calligraphy by José Saramago (1977), aims to analyze existing homological procedures between this work and various painting trends, comparing the selected narrative with the convent Memorial works (2002), Blindness (2003) and The flashes of death (2009), by the same author, pointing out the manual singularities, great allegory of the others books and the composition of the artistic plans. The aim is also to point out the features in the novel, their main elements as characters, time and space. The process of creating the frame inside the work allows viewing the resources used by the author and how the work can be observed. The fact that the narrative is a work of literary art allows more detailed observation about the function and use of literary discourse and still speaking of this painting in the tables created by the painter in the narrative. Still pointing the artistic factor present in the work, the facts in José Saramago s work for the periods experienced by the art itself, its painters, the open studio driving process, the meta-language that is part of the work and even the use of simulation for the construction of the narrative can be observed. They are marked the several levels of existing simulation throughout the book and even a possible approach to the same work In search of lost time (1988), by Marcel Proust, through the book Moving museum (2004). It is concluded that the studies on the relationship between branches arts are very recent, so the approach that brings literature and painting allows contemplating a new path for these two artworks.
A pesquisa bibliográfica baseada no livro Manual de pintura e caligrafia, de José Saramago (1977), tem por objetivo analisar as relações de semelhança existentes entre essa obra e as várias tendências da pintura. Comparando a narrativa selecionada com as obras Memorial do convento (2002), Ensaio sobre a cegueira (2003) e As intermitências da morte (2009), do mesmo autor, apontando as singularidades do Manual de pintura e caligrafia (1977) e a vasta alegoria das demais obras e a composição dos planos artísticos. Visa-se ainda apontar as características presentes no romance e seus principais elementos como personagens, tempo e espaço. O processo de criação da moldura no interior da obra permite observar os recursos utilizados pelo autor e o modo como a obra pode ser observada. O fato de a narrativa ser uma obra de arte literária permite um olhar mais minucioso sobre a função e o uso do discurso literário e ainda o discurso da pintura presente nos quadros criados pelo pintor na narrativa. Ainda apontando o fator artístico presente na obra é possível também observar os fatos em relação aos períodos vividos pela própria arte, seus pintores, o processo de condução ao ateliê, a metalinguagem que faz parte da obra e ainda o uso da simulação para a construção da narrativa. São destacados os vários níveis de simulação existentes ao longo da obra e ainda uma possível aproximação com a obra Em busca do tempo perdido, de Marcel Proust (1988), por intermédio do livro Museu movente (2004). Conclui-se que os estudos sobre as relações entre-artes são ramos muito recentes e, portanto, a abordagem que aproxima a literatura e a pintura permite contemplar um novo caminho para essas duas artes.
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Boe, Jeffrey L. „Painting Puertorriqueñidad: The Jíbaro as a Symbol of Creole Nationalism in Puerto Rican Art before and after 1898“. Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4290.
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In the three decades surrounding the Spanish-American war (1880-1910), three prominent Puerto Rican artists, Francisco Oller (1833-1917), Manuel E. Jordan (1853-1919), and Ramón Frade (1875-1954) created a group of paintings depicting "el jíbaro," the rural Puerto Rican farm worker, in a way that can be appropriately labeled "nationalistic." Using a set of motifs involving clothes, customs, domestic architecture and agricultural practices unique to rural Puerto Rico, they contributed to the imagination of a communal identity for creoles at the turn of the century. ("Creole" here refers to individuals of Spanish heritage, born on the island of Puerto Rico.) This set of shared symbols provided a visual dimension to the aspirational nationalism that had been growing within the creole community since the mid- 1800s. This creollismo mythified the agrarian laborer as a prototypical icon of Puerto Rican identity. By identifying themselves as jíbaros, Puerto Rican creoles used jíbaro self-fashioning as a way to define their community as unique vis a vis the colonial metropolis (first Spain, later the United States). In this thesis, I will examine works by Oller, Jordan and Frade which employ jíbaro motifs to engage this creollismo. They do so by painting the jíbaro himself, his culture and surroundings, the fields in which he worked, and the bohío hut which was his home. Together, these paintings form a body of jíbaro imagery which I will contextualize, taking into account both the historical circumstances of jíbaro life, as well as the ways in which signifiers of jibarismo began to gain resonance amongst creoles who did not strictly belong to the jíbaro class. The resulting study demonstrates the importance of the mythified jíbaro figure to the project of imagining Puerto Rican creole society as a nation, and the extent to which visual culture participated in this creative process.
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Trepat, Céspedes Anna. „L’obra de Manuel i Francesc Tramullas en l’art català del segle XVIII. Estudi i catàleg“. Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/667219.
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Aquesta investigació reconstrueix la trajectòria vital i professional de Manuel i Francesc Tramullas, dos dels pintors més rellevants del segle XVIII català. La monografia dedicada a la vida i obra d’ambdós germans insereix la seva activitat en el panorama històric, artístic i cultural de la Barcelona del segle XVIII i s’emmarca en la pràctica de la pintura des del principi fins a les darreries del segle XVIII. L’estudi al voltant de les seves monografies permet recórrer, des d’una visió interna i personalitzada, l’evolució dels canvis socials que va patir l’ofici de pintor des de la lluita iniciada pel seu mestre Antoni Viladomat fins a l’establiment de l’Acadèmia de Tres Nobles Arts per part de Manuel i Francesc Tramullas, juntament amb la formació i activitat dels respectius deixebles també en relació amb l’Escola Gratuïta de Dibuix de Barcelona (1775).
La present tesi vol conciliar la imatge individual i al mateix temps comparativa entre Manuel i Francesc Tramullas a fi de visualitzar les diferències entre el recorregut de l’un i de l’altre, i situar la seva activitat en el conjunt de pintors actius a Barcelona al llarg del segle XVIII. Amb relació als seus catàlegs, la nostra investigació exposa cronològicament els treballs que van dur a terme al llarg de la seva trajectòria i té en consideració les desaparegudes i conservades, les peces autògrafes, el treballs documentats i un nombre reduït d’atribuïts.
Concretament, l’estudi al voltant de l’obra de Manuel i Francesc Tramullas s’articula a partir de la lectura individual de cada peça on es té en compte la resta de treballs dels respectius catàlegs com també obres d’altres autors relacionades iconogràfica i estilísticament. L’anàlisi dut a terme sobre la trajectòria artística d’ambdós germans també posa èmfasi en els recursos compositius, tècnics i estilístics recurrents i distintius en l’obra de Manuel i Francesc, al mateix temps que evidencia els possibles contactes entre el llenguatge tardobarroc que emmarca la seva producció i els referents pictòrics i gràfics de l’escola italiana i francesa del segle XVII i XVIII.This research reconstructs the professional and vital career of Manuel and Francesc Tramullas, two of the most relevant Catalan painters of the eighteenth century. The monography is dedicated to the life and work of both painters and demarcates their activity within the historical, artistic and cultural context of the 18th century. Our research in the present study is framed by the painting practice in Barcelona from the beginning until the end of the XVIII century. The research that we have made about the monographies of the two artists enables us to cover, from an internal and personalised point of view, the evolution of the social changes that the painter’s profession suffered: from the fight initiated by his mentor Antoni Viladomat until the establishment of the Acadèmia de Tres Nobles Arts by Manuel and Francesc Tramullas, in conjunction with the education and the activity of their corresponding disciples as part of the Escola Gratuïta de Dibuix de Barcelona (1775). The project pretends to find a balance between both the personal and the comparative image of Manuel and Francesc Tramullas in order to visualise the differences between both careers and to establish their activity amid the one from the current painters in Barcelona throughout the XVIII century. Regarding their catalogues, our research displays the artworks that these painters carried out during their career in a chronological order and takes into consideration the missing and preserved works, the autograph pieces and documented works, as well as a small number of attributions. In particular, the study concerning Manuel and Francesc Tramullas’ work is assembled from the personal reading of each piece of art, from which we have taken into account the rest of the works corresponding to their catalogues as well as from other authors that are iconographic and stylistically related. The analysis carried out about both brothers’ artistic careers highlights the recurring and distinctive compositional, technical and stylistic resources of their artworks. At the same time, it shows the possible contacts between the late Baroque languages that delimits their production, as well as the pictorial and graphic models from the Italian and French schools of the XVII and XVIII centuries.
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Careta, Marco Aurélio Figueroa 1980. „O Paraíso aos mineiros : proposições acerca de um discurso poético de Manoel da Costa Ataíde“. [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284625.
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Orientador: Mauricius Martins FarinaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho teve por objetivo perscrutar o discurso poético de Manoel da Costa Ataíde presente na sua pintura em perspectiva realizada no forro da nave da Igreja de São Francisco de Assis em Ouro Preto, no provável período compreendido pelos anos de 1801 e 1812. Considerando os questionamentos de ordem epistemológica acerca da investigação crítica de uma obra de arte apresentados pelos Estudos Visuais, a referida obra foi focada como portadora de um discurso de natureza poética realizado por um artista através de uma pintura. Na abordagem da obra e do discurso por ela portado, foi considerada a essencial relação entre arquitetura e pintura inerente ao que de modo geral é chamado de pintura em perspectiva. Também foram considerados dados relativos ao autor da mesma, cuja naturalidade é de Mariana, Minas Gerais, e dados relativos ao contexto no qual ela se deu. Quanto ao contexto, ele foi interpretado a partir daquilo que possuía de imediato e de particular em relação aos contextos com os quais teve importantes relações, sendo que, foi chamado de mineiro tanto se diferenciando quanto se aproximando dos demais contextos do Brasil colonial, contemporâneos ou anteriores a ele, assim como se diferenciando e se aproximando de determinados contextos europeus devidamente destacados e justificados, dentre eles principalmente o português, o italiano e o francês. Dentre os contextos coloniais brasileiros foi importante distinguir o contexto que também se deu em Minas Gerais, e se deu principalmente do começo do século XVIII até a Inconfidência Mineira, do contexto no qual a própria obra se deu, o qual data do início do século XIX. Foram aproximadas a essa obra de Ataíde inúmeras outras obras de diversos artistas, mas, preferencialmente, além das demais obras do próprio artista marianense em questão, obras de artistas realizadas em contextos que possuíram alguma relação com o contexto mineiro e, sempre que possível, obras que puderam ser conhecidas pessoalmente pelo autor deste trabalho. Portanto, foram realizadas algumas viagens para possibilitar o contato pessoal com obras, por vezes, bastante específicas e que são encontradas em diferentes locais do sul do continente europeu. Como resultado deste trabalho foram elaboradas proposições acerca do discurso poético perscrutado, as quais, invariavelmente, revelaram uma grande sinceridade presente em tal discurso e que, ao mesmo tempo, confirmaram a potência genuína das diversas manifestações artísticas que, como um todo, ocorreram em Minas Gerais entre meados do século XVIII e início do século XIX, potência esta em cuja qual a contribuição de Manoel da Costa Ataíde é inestimável
Abstract: This study aimed to peer into the poetic discourse of Manoel da Costa Ataide present on his perspective painting held in the lining of the nave of the Church of St. Francis of Assisi in Ouro Preto, in the probable period comprehended by the years of 1801 and 1812. Considering the questions of epistemological order about the critique investigation of a work of art presented by Visual Studies, the referred work was focused as having a speech of poetic nature performed by an artist through a painting. In the approach of the work and of the discourse ported by it, was considered the essential relationship between architecture and painting inherent in what is generally called perspective painting. Were also considered data relating to the author of the same, whose naturalness is from Mariana, Minas Gerais, and data relating to the context in which it occurred. Regarding the context, it was interpreted from what it had of immediate and of particular in relation to the contexts with which had important relationships, whereas, was called of mineiro both differentiating and approaching of other contexts of colonial Brazil, contemporary or previous of it, as well as differentiating and approaching to certain European contexts properly highlighted and justified, including mainly the Portuguese, the Italian and the French. Among the Brazilian colonial contexts was important to distinguish the context that also took place in Minas Gerais, and took place mainly from the early eighteenth century until the Minas Conspiracy, of the context in which the work itself was given, which dates from the early nineteenth century. Were approached to this work of Ataíde numerous other works of many artists, but, preferably, in addition to other works by himself the artist of Mariana in question, works of artists performed in contexts that possessed some relationship with the mineiro context and, whenever possible, works that could be known by the author of this work. Therefore, there were realized a few trips to allow personal contact with works, sometimes, quite specifics and that are found in different locations of the south of the European continent. As the result of this work were prepared propositions about the poetic speech peered, which ones, invariably, showed a large sincerity present in such speech and which, at the same time, confirmed the genuine potency of the many artistic expressions that, as a whole, occurred in Minas Gerais between the mid-eighteenth century and the early nineteenth century, potency that in which the contribution of Manoel da Costa Ataide is invaluable
Mestrado
Artes Visuais
Mestre em Artes Visuais
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Monteiro, Taís Cabral. „Percursos poéticos“. Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-01062017-095007/.
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A tese Percursos poéticos encontra-se dividida em dois Volumes: Em 4 estudos, as obras e os discursos de quatro artistas visuais recebem um estudo histórico e iconográfico. Já no livro-ensaio, apresento o trabalho plástico pessoal, principalmente em pintura, realizado durante o período de doutorado. No primeiro Volume, foram dedicados dois ensaios aos artistas Alfredo Volpi e Maria Helena Vieira da Silva, no contexto do modernismo. Tal Volume consta também de entrevistas realizadas com Fabio Miguez e Manuel Caeiro, agora no âmbito da arte contemporânea. Analisando os textos históricos e das entrevistas, é notável como a particularidade dos discursos dos artistas permite uma maior aproximação do contexto original no qual se desenvolveram os seus trabalhos. Desse modo, os depoimentos pessoais e práticas pictóricas dos artistas levam a uma interpretação poética de suas obras, tendo as cidades como espaço processual da arte: seus percursos criativos estabelecem relações com a vivência e com suas viagens, em São Paulo e Lisboa, entre outros lugares mencionados.This thesis Poetic Paths is divided into two Volumes: 4 studies encompasses a historic and iconographic study of the works and discourse from four visual artists. The accompanying essay-book showcases the individual work in visual arts, especially in painting, I have been producing during the development of my PhD thesis. The first Volume includes two essays, on artists Alfredo Volpi and Maria Helena Vieira da Silva, set within the modernist context. This Volume also includes interviews with Fabio Miguez and Manuel Caeiro, set within the context of contemporary art. By analyzing the historical texts and interviews, a notable specificity of the artists\' discourses emerges and allows for greater approximation to the original context in which their work was produced. Therefore, the interplay between personal testimonials and the pictorial practices of these artists affords a poetic interpretation of their work, with the city as their procedural space, as their creative paths relates to their experiences and travels, either in Sao Paulo or Lisbon, among other places.
Bücher zum Thema "Painting manuals"
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Joseph, Lavenia, Fox Jill und Ortho Books, Hrsg. House painting. San Ramon, CA: Ortho Books, 1992.
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Publishing, Cowles Creative, und Black & Decker Corporation (Towson, Md.), Hrsg. Painting essentials. Minnetonka, Minn: Cowles Creative Pub., 1996.
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Decorative painting techniques: Whisper painting. New York, NY: Sterling Pub. Co., 2006.
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Painting. New York: Sterling Pub., 1998.
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W, Drisko Richard, und Society for Protective Coatings, Hrsg. SSPC painting manual. 4. Aufl. Pittsburgh, PA: SSPC, 2002.
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D, Keane John, und Society for Protective Coatings, Hrsg. SSPC painting manual. 3. Aufl. Pittsburgh, PA: Society for Protective Coatings, 1993.
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M, Berendsen A., Nederlandse Organisatie voor Toegepast-Natuurwetenschappelijk Onderzoek. und Stichting Coördinatie Maritiem Onderzoek, Hrsg. Marine painting manual. London: Graham & Trotman, 1989.
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Mural painting. Charleston, SC: BiblioLife, 2010.
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Jowers, Walter. Interior & exterior painting. Upper Saddle River, NJ: Creative Homeowner Press, 1994.
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Roig, Gabriel Martín i. Painting with watercolor. Hauppage, NY: Barron's, 2006.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Painting manuals"
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Berendsen, A. M. „The Protection of Different Parts of Ships under Construction“. In Marine Painting Manual, 1–49. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_1.
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Berendsen, A. M. „Cathodic Protection“. In Marine Painting Manual, 240–64. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_10.
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Berendsen, A. M. „Health, Safety and the Environment“. In Marine Painting Manual, 265–97. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_11.
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Berendsen, A. M. „The Protection of Different Parts of Offshore Structures under Construction“. In Marine Painting Manual, 50–76. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_2.
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Berendsen, A. M. „Surface Preparation“. In Marine Painting Manual, 77–105. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_3.
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Berendsen, A. M. „Paints and Paint Systems“. In Marine Painting Manual, 106–66. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_4.
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Berendsen, A. M. „Prefabrication (Shop) Primers“. In Marine Painting Manual, 167–77. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_5.
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Berendsen, A. M. „Storage and Application of Paints“. In Marine Painting Manual, 178–92. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_6.
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Berendsen, A. M. „Maintenance of Paint Systems“. In Marine Painting Manual, 193–205. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_7.
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Berendsen, A. M. „Paint Contracts and Specifications“. In Marine Painting Manual, 206–19. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_8.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Painting manuals"
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Clay, Alexis, Jean-Christophe Lombardo, Julien Conan und Nadine Couture. „Towards bi-manual 3D painting“. In the 1st symposium. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2491367.2491396.
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Ramirez-Peña, Magdalena, Manuel Otero-Mateo, Andrés Pastor-Fernandez, Moises Batista und Alberto Cerezo-Narvaez. „Impact of Key Enabling Technologies on Safety Risks in Shipbuilding. Application to Painting Activities on Large Vessels“. In 10th Manufacturing Engineering Society International Conference. Switzerland: Trans Tech Publications Ltd, 2023. http://dx.doi.org/10.4028/p-rg62m6.
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A large vessel, such as a container ship or an oil tanker, requires painting processes that include not only application, but also cleaning, substrate preparation and corrosion treatment. Moreover, these processes take place during construction (both in the construction of blocks in the workshop and in the assembly at the dock) and also during the operation phase of its life cycle, as part of its maintenance. This research analyzes the advantages of the implementation of key enabling technologies in painting processes versus the proposal of preventive measures, collective and individual protection, and training of workers in traditional manual processes. Using the Fine-Kinney method, which assesses potential hazards and associated risks, the degree of danger of the different tasks present in the current painting processes of large vessels is measured. These risk scores is compared with those of the new activities resulting from the simulation and automation of the associated processes, analyzing their justification by confronting their level of correctness (risk mitigation) with the cost factors of their implementation. The results show that, from a health and safety point of view, the proposal of these measures is fully justified. Therefore, it can be concluded that the inclusion of key enabling technologies in the painting processes of a ship throughout its life cycle drastically reduces risk levels, improving the safety and health conditions of the workers involved, without prejudice to an increase in the cost of services or in the delivery deadlines to the client, which confirms their reliability.
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Ren, S., X. Yang, G. Wang, Z. Liu, Q. Yu und K. Chen. „Study on the Stop Position of the Mobile Manipulator for Painting on Big Parts“. In ASME 2015 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/imece2015-50907.
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The industrial manufacturers are pleased to set up robotic manipulators instead of human workers to execute painting tasks which greatly reduces the risk of workers’ being poisoned and is more conductive to maintain stable quality because of the manipulator’s high repetitive accuracy. When the industrial manipulator is employed to paint on big parts, the operating mode is also changed. The manipulator is mounted on a mobile platform, which is usually a NC-machine, to extend its workspace for painting on big parts. And the manipulator starts operation just as the mobile platform arrives at a proper position and stops. However it is difficult for a human worker to figure out a proper stop position in which the manipulator can reach all goal points with a regular process velocity due to the special mechanical structure of serial revolute joints and the compound free-form surfaces, which is the most significant barrier to develop robotic big-parts painting. In this paper, we put forward a novel idea based on analysis of the base’s workable location space (BWLS) of the manipulator to solve the stop position optimizing problem in order to get a bigger continuous operating area for the manipulator once stops and improve painting quality. Compared to previous study on the reachability of the end-effector fixing the base of the manipulator, we explore the BWLS while the center wrist point of the manipulator is determined. Through formulating an analytical expression, we can describe the BWLS more precisely and the intersection curves between these workable spaces can be also obtained when the wrist moves to the target points. With considering these boundary surfaces derived from the physical limits of the manipulator, the planning results will be more efficient and reliable. The optimization results are verified by computer simulation. A 3D model of the manipulator with a mobile platform has been constructed. The painting trajectory for a target plane surface is firstly performed and the corresponding optimized stop position is then provided. Thus the method is proved to be effective and less time cost which could significantly reduce the planning time in comparison with manual operation.
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Bianco, Antonio, Claudia Roberta Combei und Chiara Zanchi. „Painting the Senate #Green: A Corpus Study of Twitter Sentiment Towards the Italian Environmentalist Blitz“. In INTERNATIONAL CONFERENCE on Computational Linguistics and Intellectual Technologies. RSUH, 2023. http://dx.doi.org/10.28995/2075-7182-2023-22-1021-1031.
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This study analyzes the reactions of the Italian Twitter community to an environmental demonstration that occurred in Rome on January 2nd, 2023. We compiled a corpus of 368,531 tokens consisting of 11,780 tweets, collected during a 7-day period. We propose a mixed-method approach that combines automated and manual corpus analyses of sentiment, emotions, and implicit language. Our findings offer insights into how tweets reflected the users’ attitudes toward a variety of subjects and entities. Although the sentiment of the overall debate was distributed rather evenly, the incident itself seems to have sparked negative sentiment and emotions among Twitter users. The results of our manual analyses revealed some issues with respect to the automatic classification of sentiment, due to the fact that some tweets contained irony, sarcasm, and slurs. Non-literal interpretations were ignored by the tools at hand that could not account for complex rhetorical-argumentative strategies.
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Mantegh, Iraj, und Nazanin S. Darbandi. „Knowledge-Based Task Planning Using Natural Language Processing for Robotic Manufacturing“. In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-29123.
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Robotic alternative to many manual operations falls short in application due to the difficulties in capturing the manual skill of an expert operator. One of the main problems to be solved if robots are to become flexible enough for various manufacturing needs is that of end-user programming. An end-user with little or no technical expertise in robotics area needs to be able to efficiently communicate its manufacturing task to the robot. This paper proposes a new method for robot task planning using some concepts of Artificial Intelligence. Our method is based on a hierarchical knowledge representation and propositional logic, which allows an expert user to incrementally integrate process and geometric parameters with the robot commands. The objective is to provide an intelligent and programmable agent such as a robot with a knowledge base about the attributes of human behaviors in order to facilitate the commanding process. The focus of this work is on robot programming for manufacturing applications. Industrial manipulators work with low level programming languages. This work presents a new method based on Natural Language Processing (NLP) that allows a user to generate robot programs using natural language lexicon and task information. This will enable a manufacturing operator (for example for painting) who may be unfamiliar with robot programming to easily employ the agent for the manufacturing tasks.
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Ferguson, Eric, Toby Dunne, Lloyd Windrim, Suchet Bargoti, Nasir Ahsan und Waleed Altamimi. „Automated Painting Survey, Degree of Rusting Classification, and Mapping with Machine Learning“. In Abu Dhabi International Petroleum Exhibition & Conference. SPE, 2021. http://dx.doi.org/10.2118/208119-ms.
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Abstract Objective Continuous fabric maintenance (FM) is crucial for uninterrupted operations on offshore oil and gas platforms. A primary FM goal is managing the onset of coating degradation across the surfaces of offshore platforms. Physical field inspection programs are required to target timely detection and grading of coating conditions. These processes are costly, time-consuming, labour-intensive, and must be conducted on-site. Moreover, the inspection findings are subjective and provide incomplete asset coverage, leading to increased risk of unplanned shutdowns. Risk reduction and increased FM efficiency is achieved using machine learning and computer vision algorithms to analyze full-facility imagery for coating degradation and subsequent ‘degree-of-rusting’ classification of equipment to industry inspection standards. Methods, Procedures, Process Inspection data is collected for the entirety of an offshore facility using a terrestrial scanner. Coating degradation is detected across the facility using machine learning and computer vision algorithms. Additionally, the inspection data is tagged with unique piping line numbers per design, fixed equipment tags, or unique asset identification numbers. Computer vision algorithms and the detected coating degradation are subsequently used as input to determine the ‘degree-of-rusting’ throughout the facility, and coating condition status is tagged to specific piping or equipment. The degree-of-rusting condition rating follows common industry standards used by inspection engineers (e.g., ISO 4628-3, ASTM D610-01, or European Rust Scale). Results, Observations, Conclusions Atmospheric corrosion is the number one asset integrity threat to offshore platforms. Utilizing this automatic coating condition technology, a comprehensive and objective analysis of a facility's health is provided. Coating condition results are overlaid on inspection imagery for rapid visualisation. Coating condition is associated with individual instances of equipment. This allows for rapid filtering of equipment by coating condition severity, process type, equipment type, etc. Fabric maintenance efficiencies are realized by targeting decks, blocks, or areas with the highest aggregate coating degradation (on process equipment or structurally, as selected by the user) and concentrating remediation efforts on at-risk equipment. With the automated classification of degree-of-rusting, mitigation strategies that extend the life of the asset can be optimised, resulting in efficiency gains and cost savings for the facility. Conventional manual inspections and reporting of coating conditions has low objectivity and increased risk and cost when compared to the proposed method. Novel/Additive Information Drawing on machine learning and computer vision techniques, this work proposes a novel workflow for automatically identifying the degree-of-rusting on assets using industry inspection standards. This contributes directly to greater risk awareness, targeted remediation strategies, improving the overall efficiency of the asset management process, and reducing the down-time of offshore facilities.
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Oba, Yuta, und Yasuhiro Kakinuma. „Tool Posture and Polishing Force Control on Unknown 3-Dimensional Curved Surface“. In ASME 2016 11th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/msec2016-8762.
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In the painting process in automotive manufacturing, the repair polishing process is still done manually by a worker with a sufficient skilled technique. However, the number of skilled workers is decreasing with the aging. In addition, the polishing time and the surface quality after the repair polishing are dependent on the proficiency level of the worker. Thus, skill-independent automation technology for the repair polishing is required. In our past research, the serial-parallel mechanism polishing machine was developed for automating the polishing process. The developed machine can control the tool trajectory, tool posture and polishing force simultaneously. In addition, the polishing force is controlled without external sensors by the reaction force observer system. This study aims to develop a polishing automation method for unknown 3-dimensional curved surface by using the developed machine. First, the tool posture control method on unknown curved surface was proposed. Second, the normal force control method based on the posture information was proposed. By using these proposed methods simultaneously, the tool posture and polishing force were controlled in the normal direction on unknown 3-dimesional curved surface. From the experimental results, the validity of the proposed method was verified.
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Abaza, Hussein, Austin Clark, Aaron Schwartz, Henry J. Durce und David A. Guerra-Zubiaga. „Industrializing Residential Construction Using Artificial Intelligent (AI) Robotics“. In ASME 2022 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/imece2022-96675.
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Abstract This research investigates using AI robotics in automating wooden residential construction. Residential building construction still depends on manual labor. Automation is used to construct certain buildings such as wood trusses, cabinets, doors, windows, and mechanical systems. However, there is a great need for automating the assembly of the building construction. This research builds a framework on how robotics can automate the construction of significant building components and assemble them in the field. In this approach, walls, roofs, and floors assemble in the area. Several attempts have been made to use robots for wood framing. However, these automation attempts focused only on the structural parts of the wooden construction. The scope of this research includes using multiple robots with conveying belts to incorporate the assembly of the main building components, including the wooden framing, exterior sheathing and siding, electric wiring and trim, plumbing pipes, thermal insulation, vapor barrier, waterproofing, trim, windows, and doors, and first coat painting. Building assemblies will be transported to the field and fit together. The system will integrate mass customization strategies which includes Product Family Architecture and Personalization Design. This approach will improve quality assurance, reduce labor costs, reduce construction time, and reduce material waste. As a proof of concept, the research simulates the use of a robot to assemble walls components. The results showed that using AI Robotics to automate wooden residential construction is possible and practical. The advancement in AI robots overcame the inconsistencies in building materials and achieved the goals of this project.
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Hill, Tristan, Stephen Canfield und Robert Shelton. „Automated Weld Path Generation Using Random Sample Consensus and Iterative Closest Point Workpiece Localization“. In ASME 2022 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/detc2022-90082.
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Abstract Jobs performed by small to medium enterprises (SMEs) are infrequently automated due to high setup costs and lack of technical expertise needed for robot training, however productivity and worker safety can be improved in SMEs with the use automated tooling. In a traditional automated manufacturing environment, tasks such a welding or painting are accomplished through execution of pre-programmed tool motions which rely on the location and orientation of the workpiece to be fixed and known. The lack of this spatial information is typically treated through positioning of the workpiece with respect to the robot arm using jigs or fixtures which are costly in initial setup and not easily modified. Further, the resulting toolpath associated with a desired task is typically defined through manual teaching resulting in a path appropriate for an individual job. For this reason, SMEs requiring variation in part geometry or arrangement are not commonly automated. This work presents a method for automated weld path generation for a 6DOF co-bot arm using random sample consensus (RANSAC) and iterative closest point (ICP) workpiece localization from LiDAR point clouds. Scans from a low cost 2D LiDAR mounted to the co-bot arm are used to generate 3D point clouds of the workspace scene with the Robot Operating System (ROS). The Point Cloud Library (PCL) is used to compare the generated point cloud with a CAD model to produce a rigid transformation to localize the workpiece. The estimated pose of the workpiece with respect to a fixed frame is used offline to generate a weld path as series of tool poses. An example welding processes in which two square tubes are joined through weldment are investigated and a physical implementation of the method is demonstrated using a 2D LiDAR mounted to a 6DOF co-bot arm.
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Strava, Salomea, Cristian Tecu und Mihai Onita. „" TEACH ME PHOTOGRAPHY, ROBOT." A CASE STUDY REGARDING VISUAL EDUCATION“. In eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-200.
Der volle Inhalt der QuelleAnnotation:
Visual arts-mediated education and training are inherent to the learning process irrespective of its traditional, digital, or hybrid formats. Photography entails creative functions while the image creator implicitly needs to be enabled through training to produce compositions that observe communication rules while simultaneously breaking wittingly the same rules. The current paper identifies quality criteria underlying highly rated photographs and features an artistic composition-based section. The main factors that influence the composition are the rule of thirds (division, point of interest), repetition (frequency, constant, resumption), symmetry (weight, variety, middle), HSL (Hue, Saturation, Brightness), empty space, use of background (subtle, main, flattening), balance (harmony, chromatic, unity), hierarchy (focus, eye direction). Many masterpieces are consciously eluding the above rules. The images are rioting against the mundanity and impersonal. The photographic composition escapes from the templates shown above, the images arouse the viewer, who needs a "key" to decipher them. This kind of visual approach has a semantic load that raises it above the fast-comprehension photo if the viewer makes the effort to accept and decipher it. The suggested artistic compositions are manually segmented into areas of interest (objects, lines, characters, etc.) accompanied by well-articulated interpretations, as they are perceived by a visual arts connoisseur. Furthermore, the authors describe sets of image data currently used in the automated assessment of image quality: IDEA, Painting-91, SCUT-FBP5500, Waterloo IAA, IAD, AVA, GPD, FACD, NU FOOD, CUHKPO, BAM, NNID. The paper is simultaneously a starting point for a subsequent set of high-quality photographs and an adequate learning resource for fields of study such as multimedia, arts, and social media.
Berichte der Organisationen zum Thema "Painting manuals"
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A Century of Painting in Panama. Inter-American Development Bank, November 2003. http://dx.doi.org/10.18235/0005898.
Der volle Inhalt der QuelleAnnotation:
An exhibition of exceptional paintings by 25 outstanding artists selected from a survey of a wide-ranging group of art connoisseurs, historians, critics, professors and art dealers in Panama gave the public an overview of the development of painting in Panama over the 20th century. The selection included early 20th century artists such as Roberto Lewis, Humberto Ivaldi, and Manuel Amador; and painters from Mid-century and end of the 20th century. Dr. Mónica E. Kupfer, Former Curator of the Panama's Museum of Contemporary Art, was invited as Associate Curator for this exhibition.
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Figari's Montevideo: 1861 - 1938. Inter-American Development Bank, September 1995. http://dx.doi.org/10.18235/0006406.
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Thirty-eight works including drawings, photographs and paintings that illustrate the life and times of artist Pedro Figari in Montevideo, Uruguay; from Montevideo's National Library, the Juan Manuel Blanes Municipal Museum, the National Museum of Visual Arts, the National History Museum, as well as several private collections.