Academic literature on the topic 'Czech Color prints'

The behaviour regarding the fluid intake in adolescents and young adults is an important issue, since these data may provide information about the health consciousness of the next generation. Inappropriate daily beverages intake for a long period can have adverse effects on human health. Positive effects of maintenance of good hydration are known in the prevention of chronic diseases like urolithiasis, bladder or colon cancer, hypertension, obesity, or constipation. In the present study, we examine the various factors of beverage intake by university students. Data from 3020 students of the Czech and Slovak universities were collected in 2016–2018 to evaluate their daily fluid intake and the characteristics of beverage consumptions. We found that gender, country, frequency of daily water intake, nutrition literacy, and some other factors influence whether a student reports having a daily water intake of more than 1.5 litres. Our respondents have preferences for beverages, based on taste and health effects primarily, prices and availability were secondary. We present the suggestions for a more balanced beverage intake for the studied age group.

The study surveys the investigations carried out since the publication of the author’s Kracker monograph (Budapest, 2004, in German 2005), and rectifies certain data and the oeuvre catalogue in the book at several loci. New findings are mainly contributed by the Czech Republic: Václav Mílek and Tomáš Valeš explored archival data in Nová Riše and Znojmo, which add to the currently elaborated register entries studied in Vienna and to a lesser extent in Jászó (Jasov, SK). The latter shed light on the network of social relations of the known family of artists, and lead – by virtue of Johann Lucas Kracker’s sculptor father and sculptor stepfather – from Johann Lucas Hildebrandt via relatives employed in the court to the circle of the provincial chief architect Franz Anton Pilgram. The painter got married in Znojmo in the summer of 1749, where he settled, presumably helped by his painter brother-in-law many years his senior, Dominic Clausner; perhaps it was he who mediated him to the Premonstratensians. Based on archival data, Tomáš Valeš attributed two upper pictures of the Capuchine high altar to Franz Xaver Karl Palko from among so-far defined Znojmo works of Kracker, while Petr Arijčuk has discovered several ensembles of paintings convincingly attributed to Kracker in the Moravian region. These works display the strong influence of Paul Troger.The Pauline church of pilgrimage at Sasvár (Šaštin, SK) was renovated by favour of the Habsburgs; its fresco decoration was entrusted to Viennese court artists: the figure painter of the composition signed by Joseph Chamant was Joseph Ignaz Mildorfer. In the summer of 1757 Kracker delivered two (signed) altar pictures for the pair of chapels in the middle and, in my view – contradicting somewhat the Mildorfer monograph – decorated their lateral walls in grisaille and on the ceilings of the first pair from the sanctuary he painted frescoes of hovering angels. Portraits by Kracker are also known from this period: the imaginary portrait of King of Hungary Béla IV, preserved by the Fáy family since the suppression of the Premonstratensian monastery in Jászó, has recently been identified by researcher of the family genealogy Tünde Fáy. A fine bust of a Moravian noblewoman signed in 1751 has cropped up in Rome’s art trade.Kracker arrived in Eger from Jászó in the autumn of 1764, only for an occasion. His first job was to decorate the bishop’s private chapel in Eger: the fresco of the resurrected Christ perished in the 19th century. Its only visual trace is a water colour copy signed in 1816 and inscribed by Franz Hauptmann, which was rediscovered after long latency and put on display in 2017 by Petra Köves-Kárai. In 1767 Kracker was working for the Premonstratensians in Geras again from Znojmo: in that year he signed the fresco of the parish church of nearby Japons and decorated that votive chapel at Elsern (the frescoes of the latter perished during reconstructions). Sharing the opinion of Wilhelm Georg Rizzi, the book of 2004 disputed that the presbytery ceiling of Japons was Kracker’s work and thus it was included as the work of Paul Troger in the monograph of the Tirolean painter published in 2012. However, the sources published by Rizzi in 2011 are not convincing enough; the homogeneity of the decoration suggests the authorship of Kracker in all four bays, I think.The largest increment has been added to Kracker’s graphic oeuvre. Thanks to Tamás Szabó, we know increasingly more of the historical provenance of the Szeged collection of drawings, including the key role of a Szeged painter Ferenc Joó’s studies in Eger. He also directed attention to Joó’s friend from Tiszafüred, painter and graphic artist Menyhért Gábriel who also studied in Vienna and copied works in the archiepiscopal gallery in Eger, and to his estate in Debrecen. That latter contains 144 sheets. Amidst the engravings and 19th century drawings the baroque drawings clearly emerge as a separate group, most of which – 12 compositions – proved to be by Kracker. In addition to the first sketch of the Jászó high altar, the St Sophia praedella picture of the St Anne side altar in the Minorite church of Eger can be accurately identified; an Assumption picture is conditionally associated with the high altar picture of 1774 in the parish church of Besztercebánya (Banská Bystrica, SK). No models of the St Augustine and St John Nepumecene drawings are known, and another two sheets together with a sheet in Szeged lead to the altar pictures in the church of Olaszliszka, but they must have been painted after Kracker’s death, in his workshop. A coherent series copied the ceiling fresco of the refectory in the Praemonstratensian monastery of Geras, painted by Troger in 1738. The quality of draughts-manship is outstanding, coming close to the model.Together with the baroque drawings, some old copperplate engravings also got into the museums of Szeged and Debrecen. It cannot be excluded that they can also be traced to Eger and they might have been pieces of Kracker’s collection. No inventory survives of Kracker’s estate but when his pupil Johann Zirkler died, a great amount of drawings and prints were inventoried which he might have inherited from his master. For lack of concrete correspondences this provenance cannot be proven, but in another way – by defining the graphic antecedents to Kracker works – we have compiled a virtual collection of the painter’s models. The revised catalogue of Johann Lucas Kracker’s drawings is appended to the study.

3D printing for rapid prototyping and production of unique objects is being actively developed. Consumer-grade printers are now commonly available for a range of purposes, while increasingly advanced techniques allow us to fabricate novel shapes, mechanical properties, and appearances. The printers’ capabilities have improved dramatically from printing single-material objects to producing detailed structures with pervoxel material variation. Since the 2010s, it is possible to fabricate full-colour 3D objects with resolutions of hundreds of DPI (voxels’ dimensions are in the order of 10 μm). Such capabilities are most prominent in printers based on the photo-polymer jetting process. Ideally, it should be possible now to produce photorealistic appearances or visually indistinguishable objects copies for, e.g., cultural-heritage applications.However, the resins used as print materials in commercial devices are inherently translucent, i.e., exhibit significant sub-surface scattering. This serves effective colour mixing in full-colour print processes, thus commercial printer drivers offer high-quality colour reproduction. At the same time, the resulting light diffusion leads to over-blurring and potential colour bleeding when printingspatially-varying colour textures. This translucent ‘crosstalk’ between surface points also strongly depends on the internal structure of the volume surrounding each surface point.Previously existing scattering-aware methods used simplified models for light diffusion and accepted the visual blur as an immutable property of the print medium.In this talk, we present the series of works conducted by a consortium of several institutes (Max-Planck Institute for Informatics, Germany; Charles University in Prague, Czech Republic; Institute of Science and Technology, Austria; University Col-lege London, United Kingdom; Universita della Svizzera Italiana, Switzerland; The Keldysh Institute of Applied Mathematics RAS, Russia). Our work counteracts heterogeneous scattering to obtain the impression of a crisp albedo texture on top of the 3D print, by optimizing for a fully volumetric material distribution that preserves the target appearance.We build our iterative method on top of a general Monte-Carlo simulation of heterogeneous scattering. We find out that a certain arrangement of materials expands the gamut of achievable appearances and makes it possible to produce sharp textures. This knowledge built-in into the volume-update step enables convergence justafter 10–15 iterations. We verify these findings using an established stochastic gradient-descent optimization for small canonical objects where it is feasible computationally.Expansion of our method to fabrication of arbitrary 3D objects with the translucent resins opens a set of problems of achievable colour combinations on the two sides of thin shapes, in the extreme convex and concave shapes. Physically correct lighting simulation enables exploration of these extreme cases where no ideal solution is possible. It turns out that a re-formulation of established gamut-mapping methods is needed for the medium with the inherent cross-talk properties such as the scattering resins of the modern full-colour 3D printers.Elaborating further ideas from we also propose a fast forward predictor of the object's surface appearance based on a neural network to replace the Monte-Carlo simulation in order to speed up the preparation of the model by 300 times. The achieved acceleration allows to reduce simulation time to minutes for a single, GPU-equipped workstation.Thismakesthe print preparation timings practical.