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Academic literature on the topic 'Artist characters'

Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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Journal articles on the topic "Artist characters"

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Malița, Ramona. "The Masks of the Commedia Dell’arte Depicted in the Paintings of Arcimboldo and Tiepolo." Analele Universității de Vest. Seria Științe Filologice 60, no. 60 (December 20, 2022): 25–41. http://dx.doi.org/10.35923/autfil.60.02.

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This interdisciplinary study (literature – painting) focuses on Italian carnival masks. As objectives, we propose a) to illustrate the aesthetic connection between the characters of the Commedia dell’arte and the allegorical portraits made by Arcimboldo and the painters of the Tiepolo artistic dynasty, and b) to highlight the dramatic character of the figures depicted in Mannerist paintings. We have identified some features of the carnivalesque character behind the mask, such as social and professional type, satirized human defects, and moral and physical qualities. Our critical working hypothesis is that, while one may encounter symbolic characters in literature, such as Orpheus, Narcissus, Prometheus, in the case of painting there are artists who place themselves differently concerning their art: homo contemplativus (the artist contemplating nature); homo faber (the artist whose art has a clear purpose); homo contentus (the artist admiring his own work). We have applied this interpretative framework, belonging to Rosario Assunto, to the carnivalesque characters of the Commedia dell’arte and to the allegorical characters created by Arcimboldo and Tiepolo.

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Zaarour, Meriem, Eman Mukattash, and Yousef Abu AwadAmrieh. "Coming of Age in the Arab Diasporic Künstlerroman: Sinan Antoon’s The Corpse Washer (2013) and Nada Awar Jarrar’s An Unsafe Haven (2016)." World Journal of English Language 13, no. 2 (January 13, 2023): 16. http://dx.doi.org/10.5430/wjel.v13n2p16.

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This study explores the künstlerroman from an Arab diasporic viewpoint. It aims to illuminate the first years of the formative process that the Arab diasporic artist undergoes in The Corpse Washer (2013) by Sinan Antoon and An Unsafe Haven (2016) by Nada Awar Jarrar as Arab diasporic künstlerromans. The article traces the childhood of Antoon’s Jawad and Jarrar’s Anas as young aspiring Arab artists against the backdrop of the novels’ socio-political contexts, which include religion, family, and the political conditions in the protagonists’ countries. Since Arab diasporic writers relocate the genre into an Arab transnational setting, this study draws attention to the violence and suffering in the lives of artists as children and the fact that they are brought up in an Arab household that does not feature in the traditional genre plot. It as well explores the environment the characters grow up in like social class and religious milieu and expounds on the way each character has seeds of artistic sensibility from a young age. The Arab characters face the issue of generational conflict about art as a proper career choice. Their parents play a role in the suppression of their artistic aspirations since they assume that they have a better-planned future for their children. Due to family expectations, religion, and political unrest, the characters have their future planned for them by others. The article concludes that the Arab diasporic künstlerroman provides alternative coming-of-age stories where the artist of Arab descent faces more challenges than his counterpart in the traditional genre.

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Kurniawan, Anton Sugito. "Pentingnya Pengetahuan Anatomi Untuk 3D Artist." Humaniora 2, no. 1 (April 30, 2011): 236. http://dx.doi.org/10.21512/humaniora.v2i1.2974.

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No matter how far the current technological advances, anatomical knowledge will still be needed as a basis for making a good character design. Understanding anatomy will help us in the placement of the articulation of muscles and joints, thus more realistic modeling of 3d characters will be achieved in the form and movement. As a 3d character artist, anatomy should be able to inform in every aspect of our work. Each 3D/CG (Computer Graphics)-artist needs to know how to use software applications, but what differentiates a 3d artist with a computer operator is an artistic vision and understanding of the basic shape of the human body. Artistic vision could not easily be taught, but a CG-artist may study it on their own from which so many reference sources may help understand and deepen their knowledge of anatomy.

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Hafezikermani, Ehsan, and Roshanak Fazli. "Survival of the Artist in Margaret Atwood’s Cat’s Eye." Khazar Journal of Humanities and Social Sciences 16, no. 4 (December 2013): 41–52. http://dx.doi.org/10.5782/2223-2621.2013.16.4.41.

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The present paper is to explicate different sorts of responses to the normalizing rubrics of society specifically in a microcosm of Margaret Atwood’s Cat’s Eye as an epitome. Three different groups of characters are taken under observation to illuminate the processes of enacting domination on human being and their various reactions; moreover, their struggle for survival. Applying different critics’ theories- particularly Foucault- the authors try to demonstrate and attest the need of having an artistic character to be able to fight back the subjugating rules and invent a new life line and a new character.

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Rabinovich, Irina. "Hawthorne’s True Artist in The Marble Faun: The Jewish Miriam?" ATHENS JOURNAL OF PHILOLOGY 8, no. 4 (September 9, 2021): 283–96. http://dx.doi.org/10.30958/ajp.8-4-3.

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The Marble Faun (MF), besides being a travelogue account of Rome, is a story about sin, guilt, suffering and abuse; it is also a tale about love and friendship. It is a story about the relationships between four different individuals united by their mutual love of art. The more interesting and convincing woman of the two female characters in the novel is unquestionably Miriam. Miriam is a rebel, an artist, and a compassionate and redemptive figure. Nevertheless, her art has been almost totally neglected, probably because most critics maintained that Miriam is an allegorical character lacking moral development or growth, whose function in the romance is limited to bringing about the Model’s murder and enacting the romance’s moral drama. The aim of this paper is to rectify a long and undeserved history of neglect and award Miriam her due status of Hawthorne's sole genuine artist. Keywords: art, Hawthorne’s female artists, The Marble Faun

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Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.

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Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the commentary on women's roles that pervades Wharton's work. Like other writers of her era, Wharton constructed many narratives around creative artists or linked her main characters to artistic endeavors in order to interrogate American culture, its materialism, its devaluation of art, and its restrictive sphere for women. It is my contention, however, that Wharton's concern with development of the female artist was subsumed in some of her novels by rhetorical techniques that used art as a sounding board for her social critiques. Specifically, she constructed pivotal scenes around paintings in the narrative and made subtle reference to prominent themes in Victorian artwork as ironic counterpoint to and illumination of the story being told. In this essay, I explore the way in which Wharton drew on artistic representations of women with deep cultural resonance for her audience that served to underscore her critique of Victorian mythology and to garner sympathy for the characters victimized by that mythology.

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Tan, Ian. "The Artist in and of the Work." Exchanges: The Interdisciplinary Research Journal 7, no. 1 (October 22, 2019): 1–14. http://dx.doi.org/10.31273/eirj.v7i1.400.

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This paper will explore the problematic link between biography and literature as it is self-consciously demonstrated by Stephen’s theory about Shakespeare in the ‘Scylla and Charybdis’ episode of James Joyce’s Ulysses. I argue how Stephen’s construction of the link between Shakespeare’s life and his work both illuminates and repeats a larger critical gesture between biography and literature. This is based on a mode of hermeneutical temporality which sees the present moment as containing within itself temporal fullness to be realised in a teleological fashion. However, Joyce’s own ironic construction of Stephen, who disavows his own theorizing, should alert us as to how much we can take this theory at face value with respect to a character who invokes the name of Shakespeare as much to construct a theory of him as to deconstruct it. In response to this, I argue that Rene Girard’s reading of Shakespeare in terms of mimetic desire provides a more compelling picture of the ways in which not only his characters, but the characters in Ulysses understand and articulate sexual desire as mediated by a prior belatedness patterned on the desire of the Other. However, I problematize Girard’s reading of Shakespeare and Joyce, and my final contention is that the desire of reading and self-fashioning is set in motion not so much by mimetic recognition as it is by the Lacanian notion of misrecognition. This forms the discursive conditions of the articulation of that desire while irrevocably fracturing not only the Girardian idea of the triangulation of desire, but also the ‘loop’ of literature and biography by thwarting all attempts to speak and desire from the place of the Other, as the Other.

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Monroy Zuluaga, Leonardo. "Entre el artista y el crítico: Basura de Héctor Abad Faciolince." LA PALABRA, no. 25 (September 3, 2014): 57. http://dx.doi.org/10.19053/01218530.2870.

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Este artículo interpreta la novela Basura de Héctor Abad Faciolince, enfocando el análisis en dos grandes personajes tipo: el artista y el crítico. La reflexión sobre el artista está basada especialmente en las tesis de Rafael Gutiérrez Girardot; en este sentido este artículo sugiere un diálogo entre Basura y la denominada "novela de artistas". El proceso de Davanzatti, el escritor dentro de la novela, desde su confianza en el arte a su fracaso en la vida es de esta forma explorado. Por otro lado, el crítico –un periodista que lee constantemente los productos de Davanzatti- es analizado en sus diferentes etapas: desde sus lecturas especializadas hasta el extraño interés por la vida de su vecino. Palabras clave: Basura, artista, crítico, novela colombiana. AbstractThis article interprets Basura, the novel written by Héctor Abad Faciolince, focuses on two main characters: the artist and the critic. The refl ection about the artist is specially based on the thesis of Rafael Gutiérrez Girardot; in that way, this article suggest a dialogue between Basura and the well known “artist novel”. The process of Davanzatti, the writer inside the novel, from confi dence on art to a failure in life is then explored. On the other hand, the critic –a journalist that constantly read the products of Davanzati- is analyzed in his different stages: from his specialized readings to a strange interest for the life of his neighbor. Key words: Basura, artist, critics, Colombian novel.

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Virtanen, Riika J. "Artists and Society in Modern Tibetan Literature." Studia Orientalia Electronica 8, no. 1 (August 7, 2020): 85–119. http://dx.doi.org/10.23993/store.8662.

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It is usually thought that modern forms of Tibetan culture started to emerge largely in the latter halfof the twentieth century, although there existed some signs and developments of modernizationalready in the first half. Since then, modern and traditional arts have existed side by side, ofteninfluencing each other and even appearing in hybrid forms. This situation is reflected in storiesabout artists in contemporary Tibetan fiction: these literary works include stories about artistswhich reflect both traditional Tibetan arts and folk culture and modern arts. This essay focuses onprose works by three writers: Dhondup Gyal (1953–1985), Tashi Palden (b. 1962), and TseringDhondup (b. 1961). In the works discussed, the main characters are representatives of differentart forms. The stories contain descriptions of the lives of artists and themes related to becoming,practising, and living as an artist. After the occupation of Tibet by the People’s Liberation Army ofthe People’s Republic of China in the 1950s, Tibetan society underwent a considerable transformation.The changes in society and its norms and values are also reflected in the descriptions of theartists’ lives. The relationship between artists and the surrounding society cannot be characterizedunidimensionally. The stories describe highly differing attitudes and values towards culture andart, which range from appreciating and being supportive to limiting and being negative. The relationshipbetween the artist and society may also undergo changes within a single story, reflectingthe influence of different attitudes and cultural policies in the society towards the practice of anartistic vocation. Examining the descriptions of artists and the theme of living as an artist, thisessay contributes to the discussion of the genre of artist stories in Tibetan culture.

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Adascalita, Lucia. "Satirical graphics in the creation of the plastic artist Iurie Rumeanțev." Arta 30, no. 1 (August 2021): 112–17. http://dx.doi.org/10.52603/arta.2021.30-1.16.

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d cultural barometer, it highlighted the perception and plastic reflection of events and changes typical of the weather. Quite a few plastic artists contributed to this, among whom the graphic artist Iurie Rumeanțev. The artist showed skill, artistry and originality in the perspective of emphasizing some interesting facets of everyday life. During his creative activity, the artist creates numerous satirical sheets that see the light of day in various publications, including the satire and humor magazine "Chipăruș", the magazine "Femeia Moldovei", the newspaper "Tinerimea Moldovei", etc. Frequently participating in international exhibitions, Iurie Rumeanțev is appreciated with diplomas and medals both for his caricatures and for his book graphics. Artistically reflecting the social life of the era in which he worked, Iurie Rumeanțev managed to create valuable graphic sheets in which, situations, frequently encountered in everyday life, are mirrored in an ironic way. At the same time, the artist excludes distortions of shape and hideousness in the representation of the characters, emphasizing the artistic revelations of the human essence. Simultaneously with the satirical graphics, Iurie Rumeanțev also manages to persevere in book graphics by making reference works.

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Dissertations / Theses on the topic "Artist characters"

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Gordon, Anna Margaretha. "A Reassessment of James Joyce's Female Characters." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2705.pdf.

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Labra, Daniela Hochmann. "O artista-personagem." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285021.

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Orientador: Ernesto Giovani Boccara
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa versa sobre obras de artes visuais onde o autor se coloca no trabalho como um personagem de ficção, e divide-se em duas partes: pesquisa teórica sobre conceitos da performance nas artes e na antropologia, e análise da prática curatorial desenvolvida para a exposição Artista-Personagem, realizada em 2004, em São Paulo
Abstract: The following thesis is about visual art works in which the author exposes himself as a fictional character. It is divided in two parts: theoretical research of performance studies and performance art practices, and the analysis of the Artista-Personagem exhibition curatorial practice presented in São Paulo, in 2004
Mestrado
Mestre em Artes

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Burns, Jessica L. "Defining the Modeling Standard for 3D Character Artists." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/296.

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The focus of this thesis is to find the most modern methods to craft 3D characters for implementation in game engines. The industry is constantly adapting to new software and my study is to cover the most efficient way to create a character from an idea to fully realized character in 3D. The following is my journey in learning new techniques and adapting to the new software. To demonstrate, I will work through the process of creating a character from a 2D concept to a 3D model rendered in real time.

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Chaffin, Jason Edward. "The Embedded American Artist." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1162.

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As our world ramps up the speed of its connections, our identities merge with increasing speed and angles of confluence. Not only are new identities created, but also the more fringe social and cultural elements of our world are exposed to mainstream consciousness. My work is a product of my own fringe background (namely its sheer breadth of experiences not normally visited upon a single person's life). My aim is to add variables to our social and cultural speed of combination and new variety by creating work that is derived from my own experiences to speak to those who are of the newer combinations and newer social recognition. I am motivated to create this work both to perpetually define and redefine myself, and also to give ground to an ‘identity of no identity' on a global scale, to our artistic dialogue and catalog.

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Pitcher, Patricia C. "Character and the nature of strategic leadership : artists, craftsmen and technocrats." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39475.

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This dissertation represents an inquiry into the relationship between character and strategy. From Aesthetics, it borrows the conceptual categories, art, craft, and technique. From Psychoanalysis, it borrows a scientific framework for exploring the inner life. From Psychiatry and Psychology, it borrows methodologies. Strategic Management lent its preoccupations.
The study demonstrates the long shadow cast by our inner lives on our actions. It portrays the evolution of the strategic posture of a world class corporation in terms of the character of the men who have led it over the past thirty years. It shows the stages through which the corporation went and how those changes were intimately related to the characters of the key executives.

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Thomazoni, Andresa Ribeiro. "Quando o computador se torna atelier de criação artística. Liana Timm : vida de artista e artista da vida." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/108581.

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A presente tese foi desenvolvida no Programa de Pós-Graduação Informática na Educação, inserindo-se na linha de pesquisa “Interfaces digitais em educação, arte, linguagem e cognição”. Trata-se de uma pesquisa interdisciplinar que buscou tramar um diálogo entre arte e tecnologia. Mais especificamente, foi realizada uma investigação a respeito da imagem digital, entendendo-a como produzida em um agenciamento maquínico entre computador, considerado como atelier, e o corpo-artista. Desta paisagem, a investigação sobre a imagem digital buscou explorar as possibilidades de indeterminação na imagem, ou seja, suas possibilidades de criação e invenção, numa espécie de escavação até visibilizar o pixel, como o menor elemento da imagem. Metodologicamente realizou-se uma cartografia, escolhendo-se os trabalhos de imagens digitais realizados pela artista gaúcha Liana Timm. Tomou-se Liana como uma personagem estética e suas obras como disparadoras da problematização sobre imagens digitais produzidas no embate criacionista com o computador-atelier. Buscamos, dessa forma, abrir outros espaços para problematizar a imagem digital e suas possíveis conexões, bem como afirmar o computador como uma potência para fomentar maquinismos produtores da diferença e invenção.
The present thesis was developed in the Computer in Education Postgraduate Program, as part of the "Digital interfaces in education, art, language and cognition" line of research. This is an interdisciplinary research that sought to weave a dialogue between art and technology. More specifically, an investigation was carried out regarding the digital image, comprising it as produced by a machinic assemblage between the computer considered as a workshop and the body-artist. From this landscape, the research on digital image sought to explore the possibilities of indeterminacy in the image, ie, its creation and invention possibilities, a kind of digging done to show the pixel as the smallest element of the image. Methodologically, it was done a cartography, picking up the pieces of digital images made by Brazilian artist, Liana Timm. We took Liana as an aesthetic character and her works as the trigger of the problematization about the digital images produced in a creationist clash with the computer-workshop. We seek, therefore, to open up other spaces to discuss the digital image and its possible connections as well as to firm the computer as a potency to foment machinisms producers of difference and invention.

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Midhin, Majeed Mohammed. "The artist as a dramatic character in contemporary British drama : a critical study of Stoppard, Barker and Wertenbaker." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20011/.

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The focus of this dissertation is the representation of the artist as a character in British theatre. In this study, which includes three chapters and one introductory chapter, I attempt to show that British playwrights, whether male or female, use their main fictional characters as artists either for self-reflexivity or to comment on the situation of being an artist. In accordance with the above premise, the responsibility of the artist and the function of art is investigated with due reference to radical thinkers, philosophers and writers such as, among others, Immanuel Kant, Oscar Wilde, Georg Lukács, Antonio Gramsci, Walter Benjamin, Viktor Shklovsky, Bertolt Brecht and Jean-Paul Sartre. This investigation concentrates on the conceptualization and contribution of those intellectuals to the definition of the role of the artist. Though I focus mainly on the period from the 1970s to the 2000s onwards, by analysing the dramatic texts of three British playwrights: Tom Stoppard, Howard Barker, and Timberlake Wertenbaker, I also discuss the decade following John Osborne’s Look Back in Anger (1956). In this manner, I trace the key changes that have taken place in British theatre during the second half of the 20th century. Though there is an abundance of critical material on the subject which focuses on the figure of the artist to show self-referral for the dramatist, the present thesis goes beyond that to highlight the role and responsibility of the artist in British theatre, the function of art, the potential dilemmas he or she may confront and the economic and political circumstances surrounding them. The plays examined in this thesis range from those depicting the problematic role of the artist as an intellectual, who is torn between morality and immorality, as in Stoppard’s Artist Descending a Staircase (1972) and Travesties (1974), to those which reject the utilitarian function of art, for example Barker’s No End of Blame: Scenes of Overcoming (1981) and Scenes from an Execution (1984). In the case of Wertenbaker, I highlight the role and dilemmas of female artists as they use theatre as a means to show the hegemonic political and economic constraints imposed on their artistic creativity. By analysing several of Wertenbaker’s plays which centre on the use of the artist as a character, her Three Birds Alighting on a Field (1991) and The Line (2009), reflect the relationship between male and female artists and the dilemmas they faced. This thesis poses the following questions: as a fictional character, how can the artist function as a member of a certain community whilst at the same time retain the distinctiveness of his or her role as an outsider? Is he or she committed to the creative work or to the social usefulness of society? If so, can we expect art or the artist to have the answer to society’s problems? Or is that an overly high expectation to place on the artist? How did artists feel living in a society under censorship? How can they avoid being censored? And if they failed, what is the price of free expression? Springing from the discussion about the dilemmas of the artist in British theatre, it will become apparent how these dilemmas, represented by fictional characters, bring forth the dominant plays about artists. Within the framework of the above mentioned playwrights, it is demonstrated that the pressing dilemma which radical artists are faced with nowadays are multiple: social, commercial and political.

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Nyström, Alexander. "When words are not enoughAn evaluation of character n-grams and function words in author identification of musical artists." Thesis, Umeå universitet, Institutionen för datavetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-156137.

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When we write texts we unconsciously leave prints behind, these prints are things such as the words used, punctuation, special characters and more. There are several different approaches to author identification that utilises these features. All these methods have been applied to avariety of texts, everything from papers to poems, e-mail and forum posts. This study will use lyrics where the artists are the authors, on these the performance of two common features will be compared.The two features that will get evaluated are character n-grams and function words. These are some of the most prominent features within author identification, where both have a track record of good performance. With high hopes for the performance the results showed that neither feature could reach the expected results. They were expected to achieve 70% and 65% accuracy respectively, however, the achieved average accuracy was only 40% and 35%. Even with the poor results some interesting finds were made. Some artists would have multiple band members write the songs which caused concern that it would affect the performance. Interestingly the results showed that multiple authors did not bad effect to the performance, in some cases they performed better than single authors.

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Vidor, Heloise Baurich. "Drama e teatralidade: experiências com o professor no papel e o professor-personagem e suas possibilidades para o ensino do teatro na escola." Universidade do Estado de Santa Catarina, 2008. http://tede.udesc.br/handle/handle/1325.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research, on drama methodology in the Brazilian context, looks at two distinct experiences in order to investigate the role of the teacher to mediate the drama processes. The strategy teacher-in-role is the core of the investigation and here is approached through two different pedagogical procedures: in role stands for the situations where the teacher takes on a social function as a partner of the students within the process; in character stands for the situations where the teacher takes on a character and keeps his/her discourse and attitudes in order to challenge the students points of view. This approach brings the role of the teacher closer to the role of the actor, and opens doors both to the participants acquisition of the theatrical language and to the teacher performance as co-artist within the teaching and learning processes
Esta pesquisa é sobre a metodologia do drama associada ao ensino do teatro na escola. São utilizadas duas experiências distintas para investigar o papel do professor na mediação de processos de drama. A estratégia do teacher in role é central na investigação e é explorada através de duas abordagens pedagogicamente diferentes: o professor no papel se refere às situações nas quais o professor discute uma função social como um parceiro dos alunos dentro do processo; o professor personagem se refere às situações aonde o professor traz um personagem, mantendo seu discurso e suas atitudes, a fim de desafiar o ponto de vista dos alunos. Estes procedimentos aproximam o papel do professor ao do ator, abrindo perspectivas tanto para a apropriação da linguagem teatral pelo aluno na sala de aula, quanto para a atuação do professor como co-atista - professor-ator - dentro do processo de ensino-aprendizagem do teatro

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Ferré, Ferri Enrique. "Tipos anónimos. Palabras vivas. Estudio e inventario de tipos móviles de imprenta en los talleres de la Facultad de Bellas Artes de Valencia. Incorporación de la Tipografía al Libro de Artista. Una aportación personal." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/172176.

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[ES] El título y subtítulo del presente trabajo resume y refleja el contenido de la labor de investigación y catalogación realizada, a partir del material disponible en el taller de Tipografía de la Facultad de Bellas Artes de la Universidad Politécnica de Valencia. La tipografía es la principal protagonista del trabajo, siendo los caracteres tipográficos los elementos más relevantes. Con los mismos se ha editado un catálogo para un mayor y mejor conocimiento de las características de cada familia de tipos móviles, ello podrá ayudar a estudiantes e investigadores a conocer e identificar la tipografía utilizada en la impresión de múltiples textos. Al ser un material procedente de imprentas de Valencia y poblaciones de alrededor, permitirá conocer un poco más la historia de la sociedad y el patrimonio de un periodo importante del pasado siglo XX. Partiendo de la metodología de investigación desde la práctica artística en los Libros de Artista, hemos pretendido alcanzar un mayor conocimiento de los tipos empleados utilizando la tipografía de forma plástica para conseguir un gran libro de artista, en el que se refleja una interpretación personal de todas las familias de caracteres tipográficos disponibles y catalogados en el taller de la mencionada facultad de Bellas Artes, al igual que proseguir con la edición de otros ejemplares de libros, continuando de esta forma la actividad iniciada en la Licenciatura y posteriormente en el Máster de Producción Artística.
[CA] El títol i subtítol del present treball resumeix i reflecteix el contingut de la labor d'investigació i catalogació realitzada, a partir del material disponible en el taller de Tipografia de la Facultat de Belles Arts de la Universitat Politècnica de València. La tipografia és la principal protagonista del treball, sent els caràcters tipogràfics els elements més rellevants. Amb els mateixos s'ha editat un catàleg per a un major i millor coneixement de les característiques de cada família de tipus mòbils, això podrà ajudar estudiants i investigadors a conéixer i identificar la tipografia utilitzada en la impressió de múltiples textos. A l'ésser un material procedent d'impremtes de València i poblacions de voltant, permetrà conéixer una mica més la història de la societat i el patrimoni d'un període important del passat segle XX. Partint de la metodologia d'investigació des de la pràctica artística en els Llibres d'Artista, hem pretés aconseguir un major coneixement dels tipus emprats utilitzant la tipografia de manera plàstica per a aconseguir un gran llibre d'artista, en el qual es reflecteix una interpretació personal de totes les famílies de caràcters tipogràfics disponibles i catalogats en el taller de l'esmentada facultat de Belles Arts, igual que prosseguir amb l'edició d'altres exemplars de llibres, continuant d'aquesta manera l'activitat iniciada en la Llicenciatura i posteriorment en el Màster de Producció Artística.
[EN] The title and subtitle of this work summarizes and reflects the content of the research and cataloguing work carried out, based on the material available in the Typography workshop of the Faculty of Fine Arts of the Polytechnic University of Valencia. Typography is the main protagonist of the work, with typographical characters being the most relevant elements. With them a catalogue has been published for a greater and better knowledge of the characteristics of each family of mobile types, this will help students and researchers to know and identify the typography used in the printing of multiple texts. Being a material from printing presses in Valencia and surrounding populations, it will allow you to learn a little more about the history of society and the heritage of an important period of the last 20 th century. Based on the research methodology from artistic practice in the Artist's Books, we have sought to achieve a greater knowledge of the types used using typography in plastic form to obtain a large artist's book, which reflects a personal interpretation of all the families of typographical characters available and catalogued in the workshop of the aforementioned faculty of Fine Arts , as well as continuing with the edition of other copies of books, continuing in this way the activity initiated in the undergraduate degree and later in the Master's Degree in Artistic Production.
Ferré Ferri, E. (2021). Tipos anónimos. Palabras vivas. Estudio e inventario de tipos móviles de imprenta en los talleres de la Facultad de Bellas Artes de Valencia. Incorporación de la Tipografía al Libro de Artista. Una aportación personal [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/172176
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Books on the topic "Artist characters"

1

1937-, Kartiganer Donald M., and Abadie Ann J, eds. Faulkner and the artist. Jackson, Miss: University Press of Mississippi, 1996.

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Veyu, Ernest L. The making of the modern artist: Stephen Dedalus and Will Brangwen. Newcastle upon Tyne: Cambridge Scholars Pub., 2012.

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Dobrinsky, Joseph. The artist in Conrad's fiction: A psychocritical study. Ann Arbor, Mich: UMI Research Press, 1989.

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Hart, Christopher. Basic anatomy for the manga artist: Everything you need to start drawing authentic manga characters. New York: Watson-Guptill Publications, 2011.

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ill, Pacheco David, and Wakeman Diana ill, eds. How to Draw The Lion King: Disney's Magic Artist. Laguna Hills, Calif: Walter Foster, 1994.

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Drawing superheroes step-by-step: The complete guide for the aspiring comic book artist. New York: Sixth&Spring Books, 2016.

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The imaginative claims of the artist in Willa Cather's fiction: "possession granted by a different lease". Selinsgrove, Pa: Susquehanna University Press, 1996.

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The artist, society, and sexuality in Virginia Woolf's novels. New York: Routledge, 2004.

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Lisa, Williams. The artist as outsider in the novels of Toni Morrison and Virginia Woolf. Westport, Conn: Greenwood Press, 2000.

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A cohesive presence: The girl image as subtext in James Joyce's "A portrait of the artist as a young man". Bern: P. Lang, 1992.

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Book chapters on the topic "Artist characters"

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Kullmann, Thomas, and Dirk Siepmann. "Language and Character." In Tolkien as a Literary Artist, 259–96. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69299-5_9.

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Huntley, Jarryd, and Hanna Brady. "Physics-Based Character Controller." In Game Programming for Artists, 133–38. Boca Raton : CRC Press, [2018]: A K Peters/CRC Press, 2017. http://dx.doi.org/10.1201/b22049-9.

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Elm, Dawn R. "The Artist and the Ethicist: Character and Process." In Issues in Business Ethics, 53–66. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7070-6_5.

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Callahan, Carolyn M., Tracy C. Missett, Amy Price Azano, Melanie Caughey, Annalissa V. Brodersen, and Mary Tackett. "Characters." In Fiction and Nonfiction Language Arts Units for Gifted Students in Grade 4, 61–66. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003235194-9.

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McFee, Graham. "The Historical Character of Art." In Artistic Judgement, 119–45. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-94-007-0031-4_5.

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El-Nasr, Magy Seif, Leslie Bishko, Veronica Zammitto, Michael Nixon, Athanasios V. Vasiliakos, and Huaxin Wei. "Believable Characters." In Handbook of Multimedia for Digital Entertainment and Arts, 497–528. Boston, MA: Springer US, 2009. http://dx.doi.org/10.1007/978-0-387-89024-1_22.

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Huntley, Jarryd, and Hanna Brady. "Artificial Intelligence (AI) and Non-Player Characters (NPCs)." In Game Programming for Artists, 119–23. Boca Raton : CRC Press, [2018]: A K Peters/CRC Press, 2017. http://dx.doi.org/10.1201/b22049-8.

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Lambeth, Cheralyn L. "Character Costumes/Mascots." In Introduction to Puppetry Arts, 129–36. New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429442858-8.

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Fischer, Frank, and Daniil Skorinkin. "Social Network Analysis in Russian Literary Studies." In The Palgrave Handbook of Digital Russia Studies, 517–36. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42855-6_29.

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AbstractNetwork analysis as a method has applications in a wide range of fields from physics to epidemiology and from sociology to political science, and in the meantime has also reached the literary studies. Networks can be leveraged to examine intertextual relations or even artistic influences, but the main application so far has been the analysis of social formations and character interactions within fictional worlds. To make this possible, texts have to be formalized into a set of nodes and edges, where nodes represent characters and edges describe the relations between these characters in a very simple fashion: Do they or don’t they interact? Based on a selection of Russian plays and Tolstoy’s novel War and Peace, we will describe approaches to the social network analysis of literary texts.

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Sciortino, Christine. "Additional Character Design Techniques." In Makeup Artistry for Film and Television, 272–93. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-22.

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Conference papers on the topic "Artist characters"

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Adascalița-Crigan, Lucia. "Nicolae Macarenco - representative artist of satirical graphics." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.01.

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A prominent figure in the field of satirical graphics in the Republic of Moldova, Nicolae Macarenco, throughout his artistic career, conceived with great skill and dedication book illustrations for literary works signed by Aureliu Busuioc, Evgeniy Kopylov, Iosif Gherasimov, Alla Grekul, posters and aesthetically expressive and semantically valuable caricatures. Prodigious, talented, persevering and devoted to his profession, the protagonist is one of the established artists who, through his vocation and talent, marked an entire era in the satirical art of the Republic. Working successfully, especially in the genres of satirical-humorous graphics, the graphic designer gave birth to works that were frequently published in important periodicals such as the satire and humor magazine Chipăruş, the magazine Femeia Moldovei, the newspaper Tinerimea Moldovei and others. The study highlights both the thematic aspects of the artist’s creation and the determined, systematized, mirrored artistic options of the protagonist. Having examined the artist’s works, the author pays increased attention to problems of compositional image, the particularities of plastic representation through shape, line, tone of human characters, psychological states of anthropomorphic and zoomorphic characters. At the same time, the analytical approach is supported by highlighting the role of color in the process of amplifying expressions and messages generated by satirical works created by the graphic artist.

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Ma, Zhuoqi, Nannan Wang, Xinbo Gao, and Jie Li. "From Reality to Perception: Genre-Based Neural Image Style Transfer." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/485.

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We introduce a novel thought for integrating artists’ perceptions on the real world into neural image style transfer process. Conventional approaches commonly migrate color or texture patterns from style image to content image, but the underlying design aspect of the artist always get overlooked. We want to address the in-depth genre style, that how artists perceive the real world and express their perceptions in the artwork. We collect a set of Van Gogh’s paintings and cubist artworks, and their semantically corresponding real world photos. We present a novel genre style transfer framework modeled after the mechanism of actual artwork production. The target style representation is reconstructed based on the semantic correspondence between real world photo and painting, which enable the perception guidance in style transfer. The experimental results demonstrate that our method can capture the overall style of a genre or an artist. We hope that this work provides new insight for including artists’ perceptions into neural style transfer process, and helps people to understand the underlying characters of the artist or the genre.

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Rocaciuc, Victoria. "Book graphics in the creation of the fine artist Stefan Sadovnikov." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.10.

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Since the 1980s, visual artist Stefan Sadovnikov has been involved in book graphics. In this field, the artist managed to approach various genres of literature: poetry, prose, scientific literature, etc. According to the illustrated topics, the graphic techniques approached by the graphic designer are: pencil, pen, gouache, including computer techniques. The strong part of his illustrations consists in appealing by the artist to the plastic principles related to the sign and symbol. Analyzing the book illustrations signed by the fine artist Stefan Sadovnikov, we notice a wide range of allegorical symbols and metaphors created by the artist based on various principles of agglutination, interference of shapes and plastic lines, specific especially to the thinking of sculpture artists. By plastically combining the human figure with the object, the artist personifies the ideas of home, city, music, poetry and love. The artistic image appears as a quintessence of the human character’s relations with the object. Thus, in several illustrations created by the fine artist Stefan Sadovnikov, inanimate objects came to life and features identical to human character and spirit.

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Chen, Jingye, Bin Li, and Xiangyang Xue. "Zero-Shot Chinese Character Recognition with Stroke-Level Decomposition." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/85.

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Chinese character recognition has attracted much research interest due to its wide applications. Although it has been studied for many years, some issues in this field have not been completely resolved yet, \textit{e.g.} the zero-shot problem. Previous character-based and radical-based methods have not fundamentally addressed the zero-shot problem since some characters or radicals in test sets may not appear in training sets under a data-hungry condition. Inspired by the fact that humans can generalize to know how to write characters unseen before if they have learned stroke orders of some characters, we propose a stroke-based method by decomposing each character into a sequence of strokes, which are the most basic units of Chinese characters. However, we observe that there is a one-to-many relationship between stroke sequences and Chinese characters. To tackle this challenge, we employ a matching-based strategy to transform the predicted stroke sequence to a specific character. We evaluate the proposed method on handwritten characters, printed artistic characters, and scene characters. The experimental results validate that the proposed method outperforms existing methods on both character zero-shot and radical zero-shot tasks. Moreover, the proposed method can be easily generalized to other languages whose characters can be decomposed into strokes.

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M. Ali Jabara, Kawthar. "The forced displacement of Jews in Iraq and the manifestations of return In the movie "Venice of the East"." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/1.

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The character of the Jew was absent from Iraqi cinematic works, while it was present in many Arab cinematic works produced in other Arab countries, and the manner of presenting these characters and the goals behind choosing that method differed. While this character was absent from the Iraqi cinematic narration, it was present in the Iraqi novelist narration, especially after the year 2003. Its presence in the Iraqi narration was diverse, due to the specificity of the Iraqi Jewish character and its attachment to the idea of being an Iraqi citizen, and the exclusion and forced displacement that Jews were subjected to in the modern history of Iraq. This absence in the cinematic texts is a continuation of this enforced absence. The Jewish character was never present in the Iraqi cinematic narration, as far as we know, except in one short fictional movie, which is the subject of this research. The research dealt with the movie “Venice of the East 2018” by screenwriter Mustafa Sattar Al-Rikabi and director Bahaa Al-Kazemi. We chose this movie for several reasons, some technical and some non-technical. One of the non-technical reasons is that feature cinematic texts rarely dealt with Jewish characters. The movie is the only Iraqi feature movie, according to our knowledge, produced after 2003, dealt with these characters, and assumed that one of them would return to Iraq. Therefore, our choice was while we were thinking of a research sample dealing with the personality of the Iraqi Jew and what is related to him and how it was expressed graphically. As for the technical reasons, it is due to the quality of the cinematic language level that the director employed to express what he wants in this movie, whose only hero is the character of the unnamed Jewish man played by the Iraqi actor (Sami Kaftan). As well as, many of the signs contained in the visual text that provide indications that may be conscious or unconscious of the situation of this segment of Iraqis, and this will become clear in the course of the research. 4 The research is divided into a number of subjects, including historical theory and applied cinema. The historical subjects included a set of points, namely (the Jews who they are and where they live) and (their presence in Iraq). The research then passed on the existence of (the Jewish character in the Iraqi narrative narrative), and how the Iraqi novelist dealt with the Jew in his novels after 2003, and does the Iraqi narration distinguish between the Jew and the Israeli or the Zionist. The applied part of the research followed, and included a (critical view of the movie) and then passed on the cinematic narration of events in the last subject (the narration of the cinematography). We studied the cinematic narration from three perspectives (cinematic shots, camera movement, camera angle and point of view), the research concluded with a set of results from criticism and analysis. It is worth mentioning that this research is an integral part of a previous unpublished study entitled (Ethnographic movie as artistic memory), which is an ethnographic study of the personality of the Jew in the Iraqi short movie.

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Miasnikova, Marina, and Alexandra Trukhina. "Character, Author, Viewer of Documentaries in the Public Space of New Media." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-54.

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Any screen message usually comprises three components: life drama in the form of a story about a real person as the character; the author’s intention to create an artistic world containing footprints of the creative personality and the author’s concept; and the viewer’s mindset regarding this world. Thus, a screen document is created by three participants of communication: character, author, viewer, though each of them differently manifests itself in turbulent conditions of ongoing media-transformations. Under the new direction named ‘real’, ‘actual’, ‘horizontal’ cinema, the documentary screen is increasingly featuring a new hero: a private, ‘simple’ person who is easy to watch with a lightweight digital camera, and who himself, blurring the line between the personal and the public, does not mind picking up the camera for the purpose of self-presentation. The author has an opportunity to demonstrate his films on new media platforms. And the viewer participates in the creation of interactive documentaries. Thus, the article covers the essential and functional changes taking place with characters, authors, and viewers of modern documentaries as an open system at their transition (alongside this movie type itself) from the existence within the framework of old, conventional media (big-screen cinema and television) to relevant media platforms (social media, new media, mobile devices, etc.).

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Yanqing, Hou. "The Analysis on Artistic Character of Stone Culture in Feixian." In 2015 3d International Conference on Advanced Information and Communication Technology for Education (ICAICTE-2015). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icaicte-15.2015.53.

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Yuming, BAI, and Nobuyuki Umezu. "Character Mosaics: A New Form of Text-Based Artistic Representation." In 2021 IEEE International Conference on Artificial Intelligence and Virtual Reality (AIVR). IEEE, 2021. http://dx.doi.org/10.1109/aivr52153.2021.00019.

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Orlova, E. V. "Cognitive-pragmatic models of the use of artistic characters in the text." In Наука России: Цели и задачи. НИЦ «Л-Журнал», 2018. http://dx.doi.org/10.18411/sr-10-12-2018-35.

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Cui, Aiqi, Kwok L. Chung, Liangying Li, and Botao Feng. "Investigation into Mutual Coupling Between Artistic Chinese-Character-Shaped Patch Antennas." In 2020 IEEE 3rd International Conference on Electronic Information and Communication Technology (ICEICT). IEEE, 2020. http://dx.doi.org/10.1109/iceict51264.2020.9334285.

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Reports on the topic "Artist characters"

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Birnbaum, David J., Ralph Cleminson, Sebastian Kempgen, and Kiril Ribarov. White Paper on Character Set Standardization for Early Cyrillic Writing after Unicode 5.1. Otto-Friedrich-Universität, 2021. http://dx.doi.org/10.20378/irb-49898.

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The White Paper on Character Set Standardization for Early Cyrillic Writing after Unicode 5.1 emerged from discussions among the authors at the "Slovo" conference in Sofia in 2008. It is partially a response to documents published by the Serbian Academy of Arts and Sciences. It has been written for the benefit of medieval Slavic philologists.

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