Dissertations / Theses on the topic 'Illustration Technique'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Illustration Technique.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Akbay, Saadet. "Multi-attitudinal Approaches Of Colour Perception: Construing Eleven Basic Colours By Repertory Grid Technique." Phd thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615567/index.pdf.
Full textways of construing and giving meaning to colours in their own words, an experiment was conducted with the utilisation of the Repertory Grid Technique (RGT). Sixty undergraduate students of Middle East Technical University (METU) Faculty of Architecture were voluntarily participated in the experiment. As a stimuli, eleven basic colours which were black, grey, white, yellow, orange, red, pink, purple, brown, blue and green were utilised. For the second step, this thesis intended investigating the structure and interrelations between the elicited attitudes of individuals and eleven basic colours. As a result of the experiment, 60 repertory grids were elicited and were analysed by using the qualitative and quantitative applications of content analysis. The resulted data afterwards were analysed by using multivariate statistical analysis methods. The overall results of this research can support certain information for further scientific investigations on colour perception and colour psychology. Additionally, the results of this research can help and guide designers to attain objective understandings about the individuals&rsquo
attitudes to colours. This can contribute to designers as a practical worthwhile during colour design and colour planning in their products and services.
De, Smet Elsa. "Voir pour Savoir. La visualisation technique et scientifique de l’aventure spatiale dans le monde occidental entre 1840 et 1969." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040160.
Full textBetween the first photograph taken from the moon in 1840 by J.W. Draper and the first photograph taken from our satellite’s ground in 1969 by Apollo 11’s mission, western space odyssey led to a wide range of images. They all had the common goal of understanding, apprehending and sharing the aspect of cosmos with as many people as possible. Evidently absorbed by a collective culture, this heterogeneous and multifaceted corpus with many complex boundaries is based on a cultural history, which remains hard to classify, between science history and images history. The resulting visualizations, heavily influenced by the traditions of the history of representation and made in parallel of the technical evolutions of astronomy and its means of observation, have equally shaped the look of physical astronomy and of the visual culture of its neophyte observers. The analysis of the creation and the fulfilment of Space Art in the twentieth century make us open our eyes on a visual corpus where the coalescence between science and style is a necessary condition to its really existence. Confronted to History of Arts and to visual studies, this corpus finds its place within an analysis, which pursues to disclose the power and the performative quality of images. Whether it be an imagery popularizing the deepest knowledge for teaching purposes, a will of grabbing the image of cosmos in order to discover it or a cultural dissemination at the heart of the most important myths of the century, spatial exploration was also an experience of the look we need to observe
Johnson, Shelley. "This little chicken went to Africa : a historical survey into the development of narrative structures within relief printmaking in community centres in South Africa and a formal analysis of the relevance of the medium in contemporary children's picture book illustration." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1725.
Full textWhen dealing with emergent literacy in South Africa, the didactic aspects of picture books are often privileged over their aesthetic quality and the idea of reading for pleasure. The themes of the books are not always locally relevant and for economic reasons, they often fail to reach the communities that need them the most. By looking at the history of relief printing within a community environment, I hope to highlight how communities themselves may be able to develop locally relevant children’s picture books, instituting a ‘grassroots’ approach rather than the paternalistic ‘top down’ approach of the past. I will also be looking at the narrative and stylistic elements of relief printing that are complimentary to the picture book genre and how these can be utilised for a pleasurable rather than didactic approach to the narratives.
Lefebvre, Thierry. "La démocratie technique à l'épreuve de la technologisation de l'espace public : Illustration par l'analyse empirique de la controverse relative aux OGM en France depuis 1995." Compiègne, 2002. http://www.theses.fr/2002COMP1384.
Full textHuggins, Linda Wreford. "Techniques in contemporary book illustration." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1008567.
Full textAndreani, Nicola. "Bande dessinée et séquentialité : les formes de la narration par images." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040215.
Full textThis thesis focuses to question the very principle of sequentiality of still images, that is to understand how in Sequential Art this dynamic takes different forms, but at the same time, how Sequential Art can be differentiated from other Arts. This help us to understand why it became an autonomous art, why it has developed more than any other sequential art, how and when the Comic was actually created.Analyze the rise of the Comics means tracing a path through the works, authors and the basic movements, considering the new poetics, themes, techonologies, that have defined this. This work aims to identify works which form a connection between the Middle Ages and the Modern Age. A historical analysis, but also paradigmatic one, will help to better understand how Comics evolved, what influences have had other forms of art (such as painting, literature, theater or caricature) but, above all, which techniques and strategies have been implemented and have changed Comics toward a narrative system based on images
Roche, Lucile. "L'ombre de Dieu : représenter la Création du monde en France (1610-1789)." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H039.
Full text“In the beginning God created Heaven and Earth”. Opening of the first chapter of the Genesis,the most well-known incipit of all time sums up both the imagery and the main idea of the Creation of the World that has existed in the west for thousands of years. However, this biblical conception of Creation starts to weaken in the beginning of the XVIIth century and to expand to embrace scientific views when secular ideas of evolution or the laws of mechanics shook the biblical tradition of the six-Day Creation narrative. The once unique idea of a World Creation becomes a more complex concept at the crossroads between sacred and profaneand authorized innovative pictures representing, for example, God blowing the Cartesian cosmogenic whirlpools or giving thrust to the terrestrial mechanism inspired by Voltaire. When the groundbreaking theories on the Creation were published, it was necessary to focus on the artistic reinterpretations of the myth. Based on a great diversity of images – biblical, scientific,alchemical – we’ll try to analyze how biblical iconography stands still at the time of the global secularization of the world in which, as a paradoxical authority or an unconscious standard, the image of the Creator holds up the complex relationship between Man and his Mythology
Brejon, Paul. "Les logiciels d'energetique des batiments : developpement, evaluation technique, illustrations." Paris, ENMP, 1988. http://www.theses.fr/1988ENMP0110.
Full textBrejon, Paul. "Les Logiciels d'énergétique des bâtiments développement, évaluation technique, illustrations /." Grenoble 2 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37616751v.
Full textSayeed, Rezwan. "Illustrative non-photorealistic rendering techniques for GPU architectures." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517869.
Full textWhitner, Richard B. "A taxonomical review of software verification techniques: an illustration using discrete-event simulation." Thesis, Virginia Tech, 1988. http://hdl.handle.net/10919/45931.
Full textThe use of simulation and modeling as a technique for solving today's complex problems is ever-increasing. Correspondingly, the demands placed on the software which serves as a computer-executable representation of the simulation model are increasing. With the increased complexity of simulation models comes a greater need for model verification, particularly programmed model verification. Unfortunately, current model verification technology is lacking in techniques which satisfy the verification needs. Specifically, there are few guidelines for performing programmed model verification. There is, however, an abundance of software verification techniques which are applicable for simulation model verification. An extensive review of techniques applicable for simulation programmed model verification is presented using the simulation and modeling terminology. A taxonomy for programmed model verification methods is developed. The usefulness of the taxonomy is twofold: (1) the taxonomy provides an approach for applying software verification techniques to the problem of programmed model verification, and (2) the breadth of the taxonomy provides a broad spectrum of perspectives from which to assess the credibility of simulation results. A simulation case study demonstrates the usefulness of the taxonomy and some of the verification techniques.
By referencing this work, one can determine what, and when, techniques can be used throughout the development life cycle. He will know how to perform each technique, how difficult each will be to apply, and how effective the technique will be. The simulation modeler - as well as the software engineer â will find the taxonomy and techniques valuable tools for guiding verification efforts.
Master of Science
Grassias-Pujo, Françoise. "L'image artistique et les techniques nouvelles." Paris 1, 1991. http://www.theses.fr/1991PA010563.
Full textThis research is the study of artistic pictures executed with computer and holography, in France, since the sixteenth. Firstly we classify these pictures by their technics, showing three axes: an linear aesthetics and a fascination for the numbers (plotter), the painting simulation(electronic paint boxes) , the emergency of a new simulated realism (three dimensional systems), the search of double (holography), and a picture network( communication technics). Then, after a study of theorical texts about a few fundamental notions : movement, support, music, photography history, diffusion, we show three tendancies : the neoconstructivists program; their abstracts, geometrical fixed research are an experimental and precise art; the pictorialists make some two or three-dimensionnal, digital or holographic, fixed or animated pictures. The painting is their reference. For the interactifs, network notion is the most important. The combinatory notion is also existing in artistic research in the eighteenth (figuration libre, peinture savante). After the study of their sources and their situation in contemporary art, is emerging the picture-memory notion. To be artistic, these pictures have to show the stakes of the new technological memory
Theodosiou, Gabriella. "Mnemonic Techniques for Improving Young Children's Prose Learning: Providing versus Constructing Illustrations." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1141%5F1%5Fm.pdf&type=application/pdf.
Full textYamani, Morteza. "Printmaking and illustration with heat : identifying techniques and determining the suitability of print materials." Thesis, University of Gloucestershire, 2006. http://eprints.glos.ac.uk/3153/.
Full textGaucher, Pierre. "Segmentation d'images numeriques par mesure de proximite de deux pixels adjacents." Tours, 1992. http://www.theses.fr/1992TOUR4002.
Full textLongère, Philippe. "Images multi-spectrales : simulation de caméras digitales : étude de paramètres d'aspect de surface." Saint-Etienne, 2000. http://www.theses.fr/2000STET4008.
Full textGillenwater, Jordan M. "The Living Chain: An Applied Exploration of Mythological Narrative and Traditional Printmaking Techniques." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/383.
Full textVERNIS, VEGA MARIA. "L'endoscopie bronchique chez l'enfant : techniques, indications ; illustration pratique des principales indications par un document audiovisuel de vingt minutes." Clermont-Ferrand 1, 1990. http://www.theses.fr/1990CLF13804.
Full textMartin, Jim. "A rhetorical analysis of the illustrative technique of Clovis G. Chappell, Batsell Barrett Baxter, and Lynn Anderson." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.
Full textLandré, Jérôme. "Analyse multirésolution pour la recherche et l'indexation d'images par le contenu dans les bases de données images : application à la base d'images paléontologique Trans'Tyfipal." Dijon, 2005. http://www.theses.fr/2005DIJOS043.
Full textIn our work we propose a visual browsing method for content-based images retrieval consisting of the building of reduced increasing sizes signature vectors extracted from images descriptor vector by an expert of the domain of the images database. Signatures are used to build a fuzzy research tree with k-means algorithm (two improvements of this algorithm are given). Our demonstration software uses a web dynamic interface (PHP), image processing is performed by Intel OpenCV and IPP libraries, data is stored in a MySQL database, a Java3D interface allows to study visual behavior of images after classification. A testing protocol has been realized. Our method gives good results, in terms of computing time and quality of visual browsing results for homogeneous images databases
Bensouda, Nabil. "Extending and formalizing the energy signature method for calibrating simulations and illustrating with application for three California climates." Texas A&M University, 2004. http://hdl.handle.net/1969.1/1080.
Full textDaubin, Jean-Claude. "Sémiologie des représentations chiffrées et applications pédagogiques." Paris 8, 1989. http://www.theses.fr/1990PA080430.
Full textThis work deals with a survey of graphics in order to give a complete definition of what it has been called as an act of graphics communication. Relations between linguistics elements inside and outside of graphics have been examined. A first level methodology of graphics has been elaborated along with an introduction of quantification
Thibault, Guillaume. "Indices de forme et de texture : de la 2D vers la 3D : application au classement de noyaux de cellules." Aix-Marseille 2, 2009. http://theses.univ-amu.fr.lama.univ-amu.fr/2009AIX22014.pdf.
Full textIn this Phd we present a pattern recognition study for the characterization and the classification of cell nuclei from patient attempt by Progeria disease. Nuclei are observed by immunodetection with an epifluorescent microscop. Nuclei’s analyse must allow to diagnose their states : healthy or pathological. The approach is based on a systematic modelling of diagnoses elements (shape, texture, holes and focis) by learning classification algorithms. The first part discuss about shape nuclei classification. We realize an efficient characterization by shape indexes, among whom four new indexes of our conception. These indexes allow the categorization of the shape and the construction of an efficient classification submodel. At the beginning of the second part, we purpose a new statistical method of texture homogeneity. This method is based on the enumeration of region of comparable gray level. Extracted informations are represented by matrices and then characterized by texture indexes among whom two new indexes whom detect textures with large homogeneous zone but with high gray level gap. These indexes and method allow an improvement of the nuclei classification. The nuclei diagnoses is equaly based on the presence of local and specific texture elements (holes and focis), sometimes constituted of just some pixels. For modelling their, we purpose succession of step of a new generical technique of texture analyze. It is based on the thexture representation by her volume under elevation map. Elements are extracted, characterized by 3D shape indexes, filtered by classification for improve characterization power, and finaly enumerated. After the modelling of each diagnoses elements, we merge submodels in a final model which classifiy with reliability and efficiency cell nuclei
Julien, Charbel. "Image statistical learning using mixture models." Lyon 2, 2008. http://theses.univ-lyon2.fr/documents/lyon2/2008/julien_c.
Full textLes travaux de la thèse ont porté essentiellement sur la modélisation du contenu visuel de bas niveau des images (Couleur, Texture, etc…). La modélisation de contenu visuel est la première étape à considérer dans tout système automatique de recherche d'image par contenu, y compris les approches d'apprentissage supervisé, non-supervisé, et semi-supervisé. Dans cette thèse nous avons choisi de modéliser le contenu visuel de bas niveau, par une signature « discret distribution » ou par un modèle du mélange « GMM » au lieu des simples modèles statistiques largement utilisés dans la littérature. En utilisant ces deux types de représentation, un prototype de clustering des bases d'images a été implémenté. Ce prototype est capable d'extraire les signatures et les GMM qui représentent les images, elles sont sauvegardées pour des traitements ultérieurs y compris le clustering des images. Dans ce type de représentation les distances classiques comme la distance Euclidienne, L-2 distance, etc. Ne seront plus applicables. Des distances qui nécessitent une optimisation linéaire peuvent être utilisées pour mesurer la distance entre signatures ou GMMs, exemple : « Mallows distance » et « Earth Mover’s distance EMD ». Calculer un vecteur moyen dans le cas où on utilise des vecteurs multidimensionnels, de longueur fixe, pour représenter les images peut être relativement facile. Par contre, dans notre cas un algorithme itératif qui nécessite de nouveau une optimisation linéaire a été proposé pour apprendre un modèle, signature ou GMM, et cela en exploitant les contraintes fixées par les utilisateurs
Lemarchand, Xavier. "Audiovisuel numérique et différAnce : Nouvelles conditions techniques de réception des objets temporels. Nouvel espace pour les savoirs." Compiègne, 1998. http://www.theses.fr/1998COMP1177.
Full textLinking several approaches to the issue, this dissertation aims at underlining the fact that digital technologies when applied to audiovisual data enable the conception of user devices in which the user/receptor relationship to the audio-visual data is akin to that we have to language when writing is available. Grounded in philosophical theory, the first part focuses on the relationship between technology, anthropology and cognition. It notebly refers to several concepts derived from Derrida's work (differAnce, archi-script, trace, logo centrism, logic of supplement) and transfers them to the audiovisual field. Thus, the thesis relies on the philosophical trends that relate technique and memory, time, space and trace, mainly via the work of B. Stiegler (phenomenological analysis of time based objects) and Leroi-Gourhan (technical externalization of memory) From a semio-pragmatical perspective, the second part then places the digital audiovisual revolution in the context of memory related technologies. An analysis of alphabetical script casts light on how its orthothetical and spatial (Goody) attributes have fostered a new intellectual dynamics. Therefore even though analogical audiovisual data has specifie features, the digitization of images and sounds allows for the transformation of the way time base flows are received (possible questioning of knowledge, stock and store logic, possibility to single items out, to spacialize and manipulate them) ln the third part, the discussion is based on Auroux's theories and the relationship between technology and metalinguistics knowledge is reconsidered ; it presents an alternative to soma semiological dead ends when considering audiovisual data. The digital era is presented as providing a technical vector for a grammatization of audiovisual material and enabling the possible rise of a critical culture for users/receptors
Halin, Gilles. "Apprentissage pour la recherche interactive et progressive d'images : processus EXPRIM et prototype RIVAGE." Nancy 1, 1989. http://www.theses.fr/1989NAN10412.
Full textBrouat, Thérèse. "Le dire et l'induireContribution à la didactique de l'anglais des spécialités scientifiques et techniques." Chambéry, 1997. http://www.theses.fr/1997CHAML004.
Full textThis research aims at studying advertisements for computer products published in british and american computer magazines in order to identify their potential with a view to teaching English to computing students. The analysis deals with the way argumentation is built on the close association of pictures and discourse. It emphasizes the effects of their dynamic interaction on the receiver and the role of the latter in construing meaning. Ranging from a descriptive pole where referential function prevails and a poetic pole open to connotations, advertisements for computer products are hybrid and multidimensional messages. Our approach consists in showing how scientific reference is embedded in other discourse types such as description, explanation, dialogue, story-telling, illustration, poetry, etc. , to appeal to the reader's emotional and rational sides. When the reader is an ESP student, these multidimensional messages can be adapted into teaching material in order to meet specific language needs that include, but are not limited to, technical terminology. For ESP teachers, advertisements provide a mine of easily updatable information in an ever-evolving domain. The last part of this research gives suggestions and guidelines on how to integrate advertisements for computer products in a course for ESP students. It focuses on activities that build on the cognitive, cultural and affective energy of learners and involve them in the process of mastering comprehension and production skills
Vasseur, Olivier. "L'image dans la technoscience : de son utilisation et de son influence dans les sciences appliquées." Toulouse 2, 2003. http://www.theses.fr/2003TOU20023.
Full textRelationships between image and technoscience can not leave indifferent the technoscientific world, which is a great supplier and consumer of images considering the importance of the role of the "to see". The objective of our work is therefore to study the use and influence of the image in the technoscientific world mainly in areas of the applied research, modelling and simulation. Our methodology is based upon the analysis of images in scientific publications such as relationship between images and the associated text as well on quantitative measures of several parameters. Discussions with actors of this world and results of participating observation contribute to our analysis too. Our results have then allowed to examine again rationalist and relativist postures of the technoscientific knowledge and to underline ambiguities of the cognitive function of the image in the technosciences. We underline then benefits of a synergism between exact sciences and human sciences for a best use of the image to the service of a rational construction of the technoscience
Clément, Michaël. "Modélisation et apprentissage de relations spatiales pour la reconnaissance et l’interprétation d’images." Electronic Thesis or Diss., Sorbonne Paris Cité, 2017. https://wo.app.u-paris.fr/cgi-bin/WebObjects/TheseWeb.woa/wa/show?t=1927&f=11772.
Full textIn recent years, the amount of visual data produced by various types of sensors has been continuously increasing. The automatic interpretation and indexation of such data constitute an important challenge in the fields of pattern recognition and computer vision. In this context, the relative position of the different objects of interest depicted in images represents particularly important information for the interpretation of their content. Spatial relations indeed carry rich semantics that are strongly tied with human perception. The research work presented in this thesis thus proposes to explore different generic approaches to the description of spatial information, in order to integrate them in high-level image recognition and understanding systems. First, we present an approach for the description of complex spatial configurations, where objects can be imbricated in each other. This notion is formalized by two novel spatial relations, namely enlacement and interlacement. We propose a model to describe and to visualize these configurations with directional granularity. This model is experimentally validated for applications in biomedical imaging, remote sensing and document image analysis. Then, we present a framework for learning composite spatial relations from image datasets. Inspired by bags of visual features approaches, this strategy allows to build vocabularies of spatial configurations occurring across images, at different scales. These structural features can notably be combined with local descriptions, leading to hybrid and complementary representations. Experimental results obtained for different datasets of structured images highlight the interest of this approach for image recognition and classification tasks
Gold, Sally Louisa. "Understanding the Book of Job : 11Q10, the Peshitta and the Rabbinic Targum. Illustrations from a synoptic analysis of Job 37-39." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:039b549f-3491-4f98-869a-33eba9d04f5a.
Full textCorreia, Maria da Luz. "Intermitências na cultura visual contemporânea : o postal ilustrado e a imagem recreativa." Phd thesis, Université René Descartes - Paris V, 2013. http://tel.archives-ouvertes.fr/tel-00932174.
Full textCorreia, Maria da Luz. "Intermitências na cultura visual contemporânea: o postal ilustrado e a imagem recreativa." Doctoral thesis, Université René Descartes - Paris V, 2013. http://hdl.handle.net/1822/29216.
Full textCompreendendo a cultura visual contemporânea como resultante do jogo vivido entre as condições socioeconómicas, os avanços tecnológicos e as operações artísticas ao longo dos últimos dois séculos, perguntamo-nos: Quais as relações entre a imagem, a palavra e o real daí decorrentes? Quais as ligações entre os diferentes dispositivos do atual contexto mediático? Como caraterizar a interação entre as operações artísticas, o comércio social de imagens e os valores fundadores da instituição estética (arte/não arte, high/low, autor/espetador, original/cópia...)? Esta problemática encontra uma direção mais precisa na análise das imagens e dos usos do postal ilustrado ao longo das três primeiras décadas do séc. XX e dos anos 80, 90 e 2000 e ainda na recoleção das apropriações artísticas deste média, inseparável do advento da fotografia e da instalação de uma rede postal de comunicação mundial. Consideramos que, embora o arquivo científico em torno da iconografia coletiva se torne progressivamente extenso, nomeadamente com a afirmação de domínios epistemológicos que vão da sociologia do imaginário aos visual cultural studies, para apenas citar dois recentes exemplos, este não dispensa e pelo contrário torna premente uma persistente revisão da teoria da imagem, que tenha em conta diferentes aspetos do processo de tecnologização da mesma, iniciado no séc. XIX com a fotografia e o cinema, e que prossegue hoje com as realidades digitais e os ambientes virtuais da Web 2.0.... A revisão deste trajeto é elaborada no nosso estudo a partir das ideias de recreação e de remediação. A imagem recreativa corresponde a uma conceção paradoxal da imagem e da técnica enquanto entidades que seriam, por um lado, vocacionadas para “uma sensibilidade puxada à manivela”, retomando a expressiva fórmula de Moisés de Lemos Martins (2011), através de formas de alienação e de automatização, e por outro lado, favoráveis ao exercício da experiência e à afirmação da condição histórica, através de táticas de reinvenção, de rearranjo e de conserto. A noção de remediação, terminologia sugerida por Bolter & Grusin (2000) pressupõe um entendimento do complexo mediático contemporâneo enquanto um todo interdependente, unido por relações de colaboração e de hibridação não cronológicas, que entra em rutura com o linear esquema sequencial que distingue novos e velhos média. Uma cultura atravessada por táticas de recreação e de remediação é ainda, como o entreviu o visionário pensamento de Walter Benjamin (1991, 1992), uma cultura onde se instabilizaram as fronteiras entre as posições de autor e de espetador, os estatutos de original e de cópia, de high e de low, categorias artificiais de caráter normativo que se destinariam a legitimar o discurso da instituição estética, mas que se manteriam ausentes no âmbito da nossa travessia espontânea e quotidiana de polimórficas atmosferas visuais e que seriam, de resto, alvo das mais heterogéneas derisões artísticas, paradoxalmente hoje assimiladas por essa mesma instituição estética. O postal ilustrado, outrora protagonista das exposições universais, hoje omnipresente nos grandes centros policulturais de arte moderna e contemporânea – nas suas lojas, nas suas salas e nos seus espaços de ócio, como cafetarias, bares e restaurantes – insere-se na nossa problemática de modo especialmente pertinente: objeto entre a arte e o comércio, com imagens e palavras, veículo da fotografia e parente próximo do cinema, o postal presta-se tanto à exploração de uma estereotipia dos afetos como se oferece às artimanhas, aos truques e às montagens dos seus usuários. Não obstante o mal-estar generalizado que paira sobre as ideias de cultura, de imagem e de arte desde o início do séc. XX com a crítica às indústrias culturais até à atualidade com os ataques à sociedade do espetáculo de Guy Debord e à sociedade do simulacro de Jean Baudrillard, propomo-nos seguir a simples mas trabalhosa máxima proposta por Michel Maffesoli (1998) de “dire oui à la vie”, mapeando os intervalos de ação, os fragmentos de experiência e os pedaços de história coletados pelos mais conhecidos e mais anónimos, pelos mais excepcionais e pelos mais banais recreadores da imagem e refazedores do real.
La culture visuelle contemporaine ne peut pas être comprise sans avoir à l’esprit l’enjeu entre les conditions socio-économiques, les avancées technologiques et les opérations artistiques au cours des deux derniers siècles. C’est en considérant cet enjeu, qu’on s’interroge: Quels sont les rapports entre l'image technique, la parole et le réel? Quels sont les liens entre les différents dispositifs qui composent l’ensemble médiatique actuel? Comment peut-on décrire l'interaction entre les opérations de l’art, le commerce social des images et les valeurs fondatrices de l’institution esthétique (art / pas de l'art, haut / bas, auteur / récepteur, original / copie ...)? Ce questionnement prend une direction plus précise, par le biais de l’étude des images et des usages de la carte postale illustrée au cours des trois premières décennies du XXème siècle et des années 80, 90 et 2000. Concomitante à l'avènement de la photographie et à l’émergence d'un réseau postal de communication mondiale, la carte postale illustrée sera également analysée à partir d’une recollection de ses appropriations artistiques. Malgré l’étendue de l’archive scientifique dédiée à l'iconographie collective, notamment concernant des champs épistémologiques tels que la sociologie de l'imaginaire et les visual cultural studies, pour ne citer que deux exemples récents, il est à notre avis fort nécessaire de relire la théorie de l'image, tout en tenant compte des différents aspects du processus d’appareillement technique de l’image, qui s’ébauche au cours du siècle. XIX avec la photographie et le cinéma, et qui se poursuit aujourd'hui avec les réalités virtuelles et les ambiances numériques de la Web 2.0 ... La présente étude considère ce trajet à partir de deux notions fondamentales : l’idée de récréation et la conception de remédiation. L'image récréative traduit la reconnaissance de la nature paradoxale de l’image et de la technique : celles-ci seraient, d’une part, des entités douées d’”une sensibilité tirée à la manivelle” (Moisés Martins Lemos , 2011), qui se manifesterait sous les formes de l'aliénation et de l'automatisation ; d'autre part, l’image et la technique, une fois appropriées par des tactiques de réinvention, de recomposition et de réparation, deviendraient des instances favorables à l'expérience et à l'affirmation de notre condition historique. À son tour, la notion de remédiation, terminologie suggérée par Bolter et Grusin (2000), présuppose une affirmation de l’interdépendance des medias contemporains ; ceux-ci seraient un ensemble solidaire uni par des liens de collaboration non chronologiques, contraires au schéma séquentiel qui oppose les nouveaux aux vieux médias. Une culture traversée par la récréation et la remédiation est également, comme l’a constaté l’oeuvre visionnaire de Walter Benjamin (1991, 1992), une culture où se troublent les frontières entre les statuts de l'auteur et du récepteur, de l’originel et de la copie, de l’high et du low, statuts normatifs artificiels destinés à légitimer le discours de l'institution esthétique. Absentes de notre traversée quotidienne et spontanée de la polymorphie des ambiances visuelles, les dichotomies mentionnées seraient l’objet de nombreuses dérisions artistiques, aujourd'hui paradoxalement assimilées par l’institution esthétique. La carte postale, autrefois protagoniste des grandes expositions universelles, et aujourd'hui omniprésente dans les espaces polyculturelles de l'art moderne et contemporain - dans leurs magasins, leurs salles d’exposition et leurs aires de loisir tels que les cafés, bars et restaurants -, revêt un intérêt particulier pour l’approfondissement de ce débat: objet entre l’art et le commerce, avec des images et des mots, vecteur de diffusion de la photographie et proche du cinéma, la carte postale illustrée se prête tantôt à l'exploration d'une stéréotypie d’affects tantôt à la concertation d’astuces et de ruses, à l’expérimentation de truquages et de montages de la part de ses utilisateurs. Nonobstant le malaise général qui pèse sur les idées de culture, d'art et d'image, depuis le début du XXème siècle avec les critiques qui visaient les industries culturelles, jusqu’à nos jours avec les attaques contre la société du spectacle de Guy Debord (2006) et la société du simulacre de Jean Baudrillard (1988), nous acceptons de suivre la maxime simple mais laborieuse proposée par Michel Maffesoli (1998) de “dire oui à la vie", en cartographiant les intervalles d'action, les fragments d'expérience et les morceaux d'histoire collectés par les plus connus et les plus anonymes, les plus rares et les plus banaux recréateurs de l’image et refaiseurs du réel.
Understanding contemporary visual culture as a result of the game between socio-economic conditions, technological advances and artistic operations over the past two centuries, we ask ourselves: What are the relationships between image, word and the reality? What are the connections between different devices of the current media context? and the interaction between operations artistic, images’ social commerce and the founding values of the aesthetic institution (art / non art, high / low, author / viewer, original / copy ...)? This broad issue finds a more accurate direction in the analysis of images and uses of the postcard over the first three decades of the century XX and 80, 90 and 2000 and also in the recollection of this artistic media appropriation, inseparable from the advent of photography and installation of a network of world postal communication. We believe that, although the scientific archive about the collective iconography progressively becomes more extensive, particularly with the affirmation of epistemological fields ranging from sociology of the imaginary to the visual cultural studies, just to mention two recent examples, this does not make it unnecessary, on the contrary, it makes it urgent to persistently review the theory of the image, which takes into account different aspects of the same technologization process, started in the century XIX with photography and film, and which continues today with the realities of digital and virtual environments web 2.0 ... The review of this path is drawn in our study with the support of the notions of recreation and remediation. The recreational image corresponds to a paradoxical conception of image and technique as entities that would be, on the one hand, aimed at "a sensitivity pulled by the crank," retaking the expressive formula of Moisés de Lemos Martins (2011), through forms of alienation and automation and, on the other hand, the favourable to the exercise of experience and the affirmation of the historical condition, through reinvention, rearrangement and repair tactics. The notion of remediation, terminology suggested by Bolter & Grusin (2000), requires an understanding of the complex contemporary media as an interdependent whole, united by non-chronological relationships of collaboration and hybridization, which rupture with the linear sequential scheme that distinguishes new and old media. A culture crossed by recreation and remediation tactics is also, as the visionary thought of Walter Benjamin (1991, 1992) glimpsed, a culture where the boundaries between the positions of author and viewer, the status of original and copy and high and low have been weakened, artificial normative categories that were intended to legitimize the discourse of aesthetic institution, but which would remain absent within our daily and spontaneous route of polymorphic visual atmospheres and would be, moreover, object of the most heterogeneous artistic derisions, paradoxically today assimilated by that aesthetics institution. The picture postcard, once the protagonist of universal expositions, today ubiquitous in major policultural centres of modern and contemporary art - in its stores, in their classrooms and in their leisure spaces, such as coffee shops, bars and restaurants - fits our problem in a very particular way: object between art and commerce, with pictures and words, photography vehicle, close relative of cinema, the postal lends itself both to the exploration of a stereotypy of affects and it also offers to tricks, the tricks and the assemblies of its users. Nevertheless the general malaise that hangs over the ideas of culture, art and picture from the beginning of the XX century with the critic to the cultural industries up to the present day with the attacks to the society of the spectacle of Guy Debord and the society of the simulacrum of Jean Baudrillard, we propose the following simple and laborious maximum suggested by Michel Maffesoli (1998), "dire oui à la vie", mapping the intervals of action, the fragments of experience and the pieces of history collected by the best known and most anonymous, for the most exceptional and the most banal recreators of the image and the remakers of the real.
Fundação para a Ciência e a Tecnologia (FCT)
Programa Operacional Potencial Humano (POPH)
Quadro de Referência Estratégico Nacional (QREN)
Pita, Carlos Xavier Varela. "O Moinho de Maré de Corroios: ilustração do património industrial e ambiental." Master's thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/18400.
Full textGot, Delphine. "Le système de l'œuvre de Gérard de Nerval : le Texte et sa dimension figurative." Rennes 2, 2004. http://www.theses.fr/2004REN20024.
Full textThe work of Nerval, because it is profoundly linked to the life of the author, is approached by the autobiographical materials which constitute it. The multiplication of descriptions developing on the pictorial mode, characterize this attempt to translate the pictures into words and the words into pictures. Starting with the movement of semiose, the tropes indicate a form of multi directional reading. Unveiling its own mechanisms of composition by the metatextual value maintained by its components, the text introduces itself to the reader responsible for reconstructing it. The obliquity of the intra-textual connections, the reproduction of the same principles in its different levels, the reoccurence at the heart of which the text builds itself, are drawn in the text with the images of the circle and of the spiral, which intervene like metaphors of its function. The semiotique skein which frees the act of reading traces the circular corridors of the labyrinth navigated by the reader
Aspis, Danielle. "Méthodologie de l'imagerie scientifique à partir de cas issus de techniques photographiques objectives, et un dernier cas contemporain ou l'image reprend une liberté : la chronophotographie d'Etienne Jules Marey, la radiologie par les rayons X, l'image détectrice de rayons uraniques et les nanosciences." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0158.
Full textThis work is an analysis of the methodologies of scientific imagery from photography. I choose to focus on the works of Etienne Jules Marey on chronophotography, on those of G. Haret, A. Dariaux, Jean Quenu and of Jean Quenu, Michel Sempé and Carlos Pavia on radiology, on those of Henri Becquerel on radioactivity discovered by him by using photographie technology, and also on contemporary research in the nanosciences. Methodologies are both methods of visualization and methods of producing images, which enables us to see what is invisible. Movement becomes visible with chonophotography, so do inner-parts of the human body thanks to radiology. Uranic rays can be detected and atoms can be visualized and organized using scanning tunneling microscope. This work also deals with the progress of techniques which made visible in the twentieth century what was invisible before, and gave researchers concrete tools to successfully develop quantum mechanic theory. Scientific imagery also gave researchers concrete tools to verify classical mechanic theories. Scientific images have become essential to applied research and fundamental research
Malmsborg, Thomas. "Att lita till läsaren : Om impressionistiskt berättande i Stig Claessons författarskap med utgångspunkt i romanen Brev till en hembygdsgård." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-110230.
Full textFerecatu, Marin. "Recherche d'images par retour de pertinence actif utilisant des descripteurs visuels et textuels." Versailles-St Quentin en Yvelines, 2005. http://www.theses.fr/2005VERS0001.
Full textIn this thesis we explore a number of issues related to interactive querying of image databases, using both the description of the visual appearance and keyword annotations. We start by introducing the weighted color histograms, that intimately integrate color, texture and shape, and we validate their quality on multiple ground truth databases. Then, we propose several improvements for the SVM-based relevance feedback approach: first, we put forward an improved active learning selection strategy, based on a reduction of the redundancy between the images selected at every feedback round and second, we propose the use of specific kernel functions, such as the triangular kernel, that allow to obtain insensitivity to changes in the scale of the data, while keeping performance at a very good level. Finally, for image databases having keyword annotations associated with images, we propose a new keyword-based feature vector that makes use of an external ontology (WordNet) to induce a semantic generalization of the concepts corresponding to keywords. When used in combination with the visual signatures, our new feature vector can improve significantly the quality of the returned results both in query by visual example situation and with relevance feedback
Quan, Weize. "Detection of computer-generated images via deep learning." Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALT076.
Full textWith the advances of image editing and generation software tools, it has become easier to tamper with the content of images or create new images, even for novices. These generated images, such as computer graphics (CG) image and colorized image (CI), have high-quality visual realism, and potentially throw huge threats to many important scenarios. For instance, the judicial departments need to verify that pictures are not produced by computer graphics rendering technology, colorized images can cause recognition/monitoring systems to produce incorrect decisions, and so on. Therefore, the detection of computer-generated images has attracted widespread attention in the multimedia security research community. In this thesis, we study the identification of different computer-generated images including CG image and CI, namely, identifying whether an image is acquired by a camera or generated by a computer program. The main objective is to design an efficient detector, which has high classification accuracy and good generalization capability. Specifically, we consider dataset construction, network architecture, training methodology, visualization and understanding, for the considered forensic problems. The main contributions are: (1) a colorized image detection method based on negative sample insertion, (2) a generalization method for colorized image detection, (3) a method for the identification of natural image (NI) and CG image based on CNN (Convolutional Neural Network), and (4) a CG image identification method based on the enhancement of feature diversity and adversarial samples
Clément, Michaël. "Modélisation et apprentissage de relations spatiales pour la reconnaissance et l’interprétation d’images." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCB024/document.
Full textIn recent years, the amount of visual data produced by various types of sensors has been continuously increasing. The automatic interpretation and indexation of such data constitute an important challenge in the fields of pattern recognition and computer vision. In this context, the relative position of the different objects of interest depicted in images represents particularly important information for the interpretation of their content. Spatial relations indeed carry rich semantics that are strongly tied with human perception. The research work presented in this thesis thus proposes to explore different generic approaches to the description of spatial information, in order to integrate them in high-level image recognition and understanding systems. First, we present an approach for the description of complex spatial configurations, where objects can be imbricated in each other. This notion is formalized by two novel spatial relations, namely enlacement and interlacement. We propose a model to describe and to visualize these configurations with directional granularity. This model is experimentally validated for applications in biomedical imaging, remote sensing and document image analysis. Then, we present a framework for learning composite spatial relations from image datasets. Inspired by bags of visual features approaches, this strategy allows to build vocabularies of spatial configurations occurring across images, at different scales. These structural features can notably be combined with local descriptions, leading to hybrid and complementary representations. Experimental results obtained for different datasets of structured images highlight the interest of this approach for image recognition and classification tasks
Chen, Yong. "Analyse et interprétation d'images à l'usage des personnes non-voyantes : application à la génération automatique d'images en relief à partir d'équipements banalisés." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080046/document.
Full textVisual information is a very rich source of information to which blind and visually impaired people (BVI) not always have access. The presence of images is a real handicap for the BVI. The transcription into an embossed image may increase the accessibility of an image to BVI. Our work takes into account the aspects of tactile cognition, the rules and the recommendations for the design of an embossed image. We focused our work on the analysis and comparison of digital image processing techniques in order to find the suitable methods to create an automatic procedure for embossing images. At the end of this research, we tested the embossed images created by our system with users with blindness. In the tests, two important points were evaluated: The degree of understanding of an embossed image; The time required for exploration.The results suggest that the images made by this system are accessible to blind users who know braille. The implemented system can be regarded as an effective tool for the creation of an embossed image. The system offers an opportunity to generalize and formalize the procedure for creating an embossed image. The system gives a very quick and easy solution.The system can process pedagogical images with simplified semantic contents. It can be used as a practical tool for making digital images accessible. It also offers the possibility of cooperation with other modalities of presentation of the image to blind people, for example a traditional interactive map
Putri, Dian Kemala. "Comprehension of complex animation : cueing, segmentation and 2D / 3D presentations." Phd thesis, Université de Bourgogne, 2011. http://tel.archives-ouvertes.fr/tel-00795026.
Full textBelghith, Akram. "Indexation de spectres HSQC et d’images IRMf appliquée à la détection de bio-marqueurs." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAD001/document.
Full textThe medical signal acquisition techniques are constantly evolving in recent years and providing an increasing amount of data which should be then analyzed. In this context, automatic signal processing methods are regularly proposed to assist the expert in the qualitative and quantitative analysis of these images in order to facilitate their interpretation. These methods should take into account the physics of signal acquisition, the a priori we have on the signal formation and the amount of data to analyze for a more accurate and reliable interpretation. In this thesis, we focus on the two-dimensional 2D Heteronuclear Single Quantum Coherence HSQC spectra obtained by High-Resolution Magic Angle Spinning HR-MAS NMR for biological tissue analysis and the functional Magnetic Resonance Imaging fMRI images for functional brain activities analysis. Each processed medical information will be characterized by a set of objects that we seek to extract, align, and code. The clustering of these objects by measuring their similarity will allow their classification and then the identification of biomarkers. It is this global content-based object indexing and retrieval scheme that we propose. We are interested in this thesis to properly model and integrate the a priori knowledge we have on these biological signal allowing us to propose there after appropriate methods to each indexing step and each type of signal
Pham, The Anh. "Détection robuste de jonctions et points d'intérêt dans les images et indexation rapide de caractéristiques dans un espace de grande dimension." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR4023/document.
Full textLocal features are of central importance to deal with many different problems in image analysis and understanding including image registration, object detection and recognition, image retrieval, etc. Over the years, many local detectors have been presented to detect such features. Such a local detector usually works well for some particular applications but not all. Taking an application of image retrieval in large database as an example, an efficient method for detecting binary features should be preferred to other real-valued feature detection methods. The reason is easily seen: it is expected to have a reasonable precision of retrieval results but the time response must be as fast as possible. Generally, local features are used in combination with an indexing scheme. This is highly needed for the case where the dataset is composed of billions of data points, each of which is in a high-dimensional feature vector space
Hsu, Li-Ying, and 徐麗櫻. "The illustration based on the concept of “Liubai Technique-Blank Leaving”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/xakt7c.
Full text中原大學
商業設計研究所
107
“Liubai Technique-Blank Leaving” is not only the technique skills presenting the aesthetics of artistic conception, but also the philosophy of artistic conception. Blank Leaving is the true emptiness that will not perish. Researcher often appears the thinking of philosophy of arts in the deep heart by creating and experiencing the arts to realize the aesthetics of artistic conception and the philosophy of artistic conception. The content of research in this study begins on analyzing the meaning of blank leaving of Chinese ink painting, the influences of eastern philosophy to blank leaving. Further, analyzing the works of Chihiro Iwasaki, Henri Matisse, Gao Xingjian to know the concept of blanking leaving applied to their works. Finally, the researcher illustrates the book based on the concept of blank leaving with Wang Wei’s collected poems on Wangchuan to experience and experiment with the aesthetics of artistic conception and the philosophy of artistic conception. There are three approaches of the blank leaving based on this research. One is the meaning of the blank leaving included three leading aspects: the blank leaving is not the color, is the intrinsic value of leaving blank. The blank leaving is not the technique skills of leaving blank, is the spiritual conception of the true emptiness. And the blank leaving is not the work of arts, is the aesthetics of artistic conception and the philosophy of artistic conception. Secondly, the philosophy of artistic conception based on the blank leaving is given by three Chinese philosophy, Confucianism, Buddhism and Taoism. Furthermore, the meaning of the aesthetics of artistic conception is concluded to three approaches, the arising and the ceasing of illusion and reality, the construction of the creation, and the harmonious combination of visual and spiritual artistic elements. Key words: the philosophy of artistic conception, the aesthetics of artistic conception, the arising and the ceasing of illusion and reality, the true emptiness
Bouvier-Zappa, Simon. "Illustration non-photoréaliste de séquences de captures de mouvements." Thèse, 2007. http://hdl.handle.net/1866/7212.
Full textJanů, Barbora. "Význam a postavení současné české vědecké zoologické ilustrace v naučné literatuře." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-361835.
Full textChang, Shen-pu, and 張申溥. "The Study of Surrealism Techniques on Digital Illustration Creation." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/40054775568520262359.
Full text國立臺灣師範大學
設計研究所在職進修碩士班
91
The Study of Surrealism Techniques on Digital Illustration Creation English Abstract This research is to study the origin, concept, technique, form and the influence of Surrealism, and analyzes the reasons why surrealism attracts people and its application on the field of illustration. The so-called "Illustration" is to supplement text through visual art. "Digital Images" means to transform analogue images into 0 and 1 signal. These signals need to revert visible images by the computer and other equipment. "Digital image design" means making "Illustration" by computers. "Digital Illustration" means making post, press, print and 3D multimedia by computers. According to literatures of Surrealism, the research is to discuss the style, concept, principle, technique and other previous researches to generalize 12 principles. The authors adduces proper timing and other essence and apply Digital Illustration on Design. This result will help the "Digital Illustration" study a lot, and upgrades the artworks in the study. The author would like to share the research to other people. The suggestion for other students will compare different techniques that influenced by Surrealism or study other common techniques from different perspectives. Key words: Surrealism, computer art, digital illustration
jo, To kai, and 塗凱柔. "Research on the Application of Wash Painting Techniques to Digital Illustration." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/90361095037184479009.
Full text國立臺灣師範大學
設計研究所在職進修碩士班
94
Wash Painting is a mainstream of Chinese painting. It has a long history and has been recognised as a particular kind of art that is marked with a distinguished style. The "ink and wash" technique plays a significant role in wash painting. The spirit of wash painting is to express an emotion or a kind of atmosphere. By means of simple and pure lines executed with various brush strokes and colouring with the wash and ink painting techniques, the spiritual qualities of the painting are emphasised. Digital Arts, a primary innovation in the twentieth century, has influenced the daily life of the masses with its development during a short duration. The Precision, Iteration, Transformation and Serendipity of Computer Graphics have potent influence in the annals of art and graphic design. In addition, the techniques of Mimetic, Derivative, Innovative and Emergent in the process of creating Digital Arts even subvert the conventions of the artistic techniques in the History of Art. The aim of this dissertation is to explore the employment of "ink and wash" techniques in wash painting as the basic formula in Digital Illustration. The combination of traditional Chinese painting techniques and Digital Illustration has achieved new features in Art development by means of deploying the brush strokes of "ink and wash" (e.g. thick, thin, dry and wet) and of combining the characteristics of Digital Illustration via the Computer Graphic software. The discussion and exploration of this research will be presented in several sections by the following procedure. The motivation and aim of this dissertation will be indicated first, followed by the research method and subject, and then the summary of research procedure. In the section on literary review, the development of brush and colouring, concepts of composition, brush strokes, creative formulas used in Chinese wash painting in addition to the innovative ideas in contemporary wash painting will be explored. The comparison between traditional painting and Digital Arts will be analysed. The subject of the creative work is God of Flowers, and Flowers in Chinese Mythology that are characterised with Romanticism so as to explore the "wash and ink" technique, lines and composition of a picture in theory of construction, and to construct the elements and creative formulas of this research. The issues of the discussion include: I. To discuss the origins of Flowers, and Gods of Flowers, and the characters of Gods of Flowers. II. Exploration of the application of "ink and wash" techniques to the creative formulas in Digital Illustration. III. Exploration of the composition of a picture and the application of colours. Finally, the process of creating the work, executing the creative concepts of concrete art works, and revealing a new Digital Illustration style via Computer Graphic software will be analysed and exemplified. The research concludes with the thoughts and suggestions of the future development of the application of wash painting techniques to Digital Illustration.
Moreno, Rodas Jonathan. "Internship report at the Virtual Reality Unit of the International Comittee of the Red Cross (ICRC)." Master's thesis, 2020. http://hdl.handle.net/10400.26/32496.
Full textKONG, FU-KI AKI, and 江芙琪. "The Study for Application of Gongbi Techniques in Computer Graphics- A Case Study of Chinese Flower Goddesses Illustration." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/fe9926.
Full text亞洲大學
數位媒體設計學系
106
The development of digital art has become more mature in recent years, the way of painting creation has also moved from traditional hand-drawn to digitalize and gradually replaced by computer graphics, however, hand-painted works still have the value that cannot be replaced. For example, the delicate works of Gongbi paintings are derived from their delicate painting techniques. But this painting process is both complicated and time-consuming. In today’s society that seeks efficiency, It is not conducive to business development and application. In the animation illustrator market in Taiwan, works with Chinese culture as an element and style are very extensive and popular. However, its presentation is mainly based on Japanese comic style or Western painting style. There are relatively few works that match the theme of Chinese ink and wash styles. Make the work lack a unique charm of the traditional Chinese language generation. It makes people feel a little bit of regret. Based on the researcher's love of classical style works, the motivation for creating a meticulous painting with computer graphics has arisen. And the researcher decided to use the theme of