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Journal articles on the topic 'Illustrators; Photographers'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Millar, Pat. "The tension between emotive/aesthetic and analytic/scientific motifs in the work of amateur visual documenters of Antarctica's Heroic Era." Polar Record 53, no. 3 (March 9, 2017): 245–56. http://dx.doi.org/10.1017/s003224741700002x.

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ABSTRACTVisual documenters made a major contribution to the recording of the Heroic Era of Antarctic exploration. By far the best known were the professional photographers, Herbert Ponting and Frank Hurley, hired to photograph British and Australasian expeditions. But a great number of images – photographs and artworks – were also produced by amateurs on lesser known European expeditions and a Japanese one. These amateurs were sometimes designated official illustrators, often scientists recording their research. This paper offers a discursive examination of illustrations from the Belgian Antarctic Expedition (1897–1899), German Deep Sea Expedition (1898–1899), German South Polar Expedition (1901–1903), Swedish South Polar Expedition (1901–1903), French Antarctic Expedition (1903–1905) and Japanese Antarctic Expedition (1910–1912), assessing their representations of exploration in Antarctica in terms of the tension between emotive/aesthetic and systematic analytic/scientific motifs. Their depictions were influenced by their illustrative skills and their ‘ways of seeing’, produced from their backgrounds and the sponsorship needs of the expedition.

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2

Dane, William J. "Public art libraries and artists and designers: a symbiotic scheme for success." Art Libraries Journal 12, no. 3 (1987): 29–34. http://dx.doi.org/10.1017/s0307472200005277.

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The inter-relationship between art librarians and artists/designers in the public library sector in America has been a reality since the early 20th century when libraries were organized into subject departments. This specialized clientele is eclectic and ranges from novices to the most accomplished artists and includes architects, art directors, illustrators, calligraphers, craftspeople and photographers in addition to painters, sculptors and graphic artists. Materials and services in public art libraries are highly diversified and the literature of other disciplines is also readily available. The increase in art exhibitions and special collections is noted in addition to a new focus on information for career opportunities, art law and the handicapped. Current developments set the stage for the continuing symbiotic relationship between public art librarians and artists/designers into the 21st century.

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3

Crossley-Holland, Kevin. "Bruder und Schwester wie Wort und Bild?1." Book 2.0 10, no. 2 (December 1, 2020): 201–16. http://dx.doi.org/10.1386/btwo_00030_1.

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Throughout my writing life, I have collaborated with many visual artists − painters, etchers, wood-engravers, lino-cutters, watercolourists, photographers, even a stone carver; 37, I believe, not including occasional exchanges with illustrators of foreign editions of my books. For this article, I’ve chosen six artists to represent very different ways of working together. It hasn’t been easy to set aside such superb and eminent artists as Brian Wildsmith, who illustrated my first novel, Havelok the Dane (1964) and whose spirited, meticulous line drawings, with their replacement characters and glue and whiteout still hang on my walls at home. It was difficult, too, to omit Margaret Gordon: she and I made three picture books together, one of which, The Green Children, won the Arts Council Award for the Best Book for Young Children 1966–68. And John Hedgecoe – cussed, determined, imaginative, immensely talented, generous and a great photographer, with whom I worked on my Norfolk Poems (1970) – who persuaded me to wade fully clothed up and down muddy back-creeks, with strings of seaweed around my neck. But after some deliberation, the six visual artists I’ve chosen to write about are: Charles Keeping, John Lawrence, Andrew Rafferty, Norman Ackroyd, Jane Ray and Jeffrey Alan Love.

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4

White, Tina. "New Zealand School Journals, 1960s-70s." Back Story Journal of New Zealand Art, Media & Design History, no. 5 (December 1, 2018): 41–47. http://dx.doi.org/10.24135/backstory.vi5.36.

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In this commentary, Tina White draws on her collection of the New Zealand School Journal to illustrate how by the 1960s and 1970s the Journal commissioned content from some of the country’s best writers, illustrators and photographers. Founded in 1907 with the high-minded aim to develop among New Zealand schoolchildren an “appreciation of the higher literature”, it is believed to be the longest running serial publication for children in the world with around 750,000 copies published annually in four parts. Athol McCredie, who writes on the New Zealand photobook in this issue, once described the New Zealand School Journal as an element of New Zealanders’ cultural consciousness – “remembered as evocatively as the smell of stale school milk, the feel of chalk and finger paint, and the steamy atmosphere of a classroom of wet bodies on a rainy day”.

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5

Alexander, Arden. "Photographic Resources Documenting the Middle East at the Library of Congress." Middle East Studies Association Bulletin 40, no. 1 (June 2006): 63–74. http://dx.doi.org/10.1017/s0026318400049415.

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Images of the Middle East form an important part of the 14 million items in the Prints and Photographs Division (P&P) of the Library of Congress (LC). The Middle East designation covers a broad geographical region stretching from Algiers in North Africa, to Samarqand in present day Uzbekistan. Most of the photographs, negatives, book illustrations, posters, albums, stereographs, and prints date from between 1840 to the present and document people, archaeological sites, buildings, important events, and everyday life. The photographers include resident foreigners such as Rudolf Lehnert and Ernst Landrock (generally known by their corporate name Lehnert & Landrock), travelers to the region like Francis Frith, local photographers such as Ottoman military photographer Ali Riza Pasha, and most recently LC staff members who visited war-torn Baghdad. The Middle East holdings total about 50,000 items, received through copyright deposit, gift and purchase.

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6

Ainsworth, Alan John. "“A Private Passion”." Southern California Quarterly 101, no. 3 (2019): 317–38. http://dx.doi.org/10.1525/scq.2019.101.3.317.

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Photographer Bob Douglas’s 1940s–1990s career illustrates the race-based constraints experienced by African American photographers. Analyses of his images of jazz performers bring to light his rapport with the musicians and his sensitivity to their music and the differences between his practice and from that of white jazz photographers. His oeuvre is an important contribution to the history of both jazz and photography.

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7

Stephaniuk, Jeffrey D. "Review of David Mitchelhill-Green. Fighting in Ukraine: A Photographer at War; Rare Photographs from Wartime Archives." East/West: Journal of Ukrainian Studies 7, no. 1 (April 16, 2020): 251–53. http://dx.doi.org/10.21226/ewjus576.

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Book review of David Mitchelhill-Green. Fighting in Ukraine: A Photographer at War; Rare Photographs from Wartime Archives. Pen & Sword Military, 2016. Images of War. 176 pp. Illustrations. Maps. Appendix. Bibliography. £14.99, paper.

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8

Warner, Simon. "The landscape photographer as illustrator." Landscape Research 17, no. 1 (March 1992): 34–35. http://dx.doi.org/10.1080/01426399208706355.

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9

Sin, Harng Luh, and Shirleen He. "Voluntouring on Facebook and Instagram: Photography and social media in constructing the ‘Third World’ experience." Tourist Studies 19, no. 2 (November 28, 2018): 215–37. http://dx.doi.org/10.1177/1468797618815043.

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This article studies photographic practices in ‘voluntourism’ alongside the rise of social media platforms like Facebook and Instagram. The advent and widespread use of social media platforms today complicates the ethics of photographic practices, as the ease of sharing photographs accentuates and stirs up the unequal relations between the photographer and the photographed. From a conceptual standpoint, the moral and altruistic underpinnings of volunteer work supposedly differentiate voluntourists from their counterparts in mainstream tourism, who are often assumed to be engaged in commoditized and leisure-based activities. However, existing research suggests that voluntourists do participate in conventionally touristic practices, as the pervasiveness of photography illustrates. Using interviews with 16 voluntourists, this article examines the negotiations behind photo-taking and photo-posting in voluntourism. We also consider the case of Barbie Savior, a satirical Instagram account featuring ‘the doll that saved Africa’. The emergence of such online media articles that critique and make fun of voluntourists’ depiction of their Third World experience therefore becomes a self-governing mechanism for how one should behave in encountering the Third World, even as voluntourism itself continues to be seen as a viable way of caring for the Third World.

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10

Knazook, Elizabeth. "Where the book ends and the album begins: Extra-illustrating the work of James MacPherson LeMoine1 in nineteenth-century Quebec." Journal of Illustration 8, no. 1 (August 1, 2021): 107–39. http://dx.doi.org/10.1386/jill_00040_1.

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This article is a case study of photographs as extra-illustrations using as an example the third volume in the series of Maple Leaves books by Sir James MacPherson LeMoine (1825‐1912), published in 1865 under the subtitle Canadian History and Quebec Scenery, which was the first literary work in Canada to be commercially illustrated with photographs. Original albumen photographs made by photographer Jules-Isaïe Benoît dit Livernois (1830‐65) depicted many of the country villas described by the author in the section referred to as ‘Our Country Seats’. The readers of Maple Leaves turned this work into a complex and intimate record of a community by liberally augmenting the official photographs with individual prints selected independently for their copies. The surviving books collectively serve as a kind of regional album, preserving the tastes and aspirations of some of the 500 subscribers living in and around Quebec City in the mid-nineteenth century.

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11

Feldmann, Rodney M. "Photographic procedures." Paleontological Society Special Publications 4 (1989): 336–41. http://dx.doi.org/10.1017/s2475262200005311.

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Preparation of appropriate photographs is absolutely essential in conveying paleontological information. The effort expended in adequate cleaning and preparation of specimens is not only reflected in exposing the detail of material so that it can be properly described but also in permitting the morphologic information to be transmitted to others through photography. Therefore the purpose of this chapter is to describe the general procedures involved in preparing high quality, publishable photographs because special techniques related to photography of microfossils will be treated elsewhere, the emphasis within this chapter will be upon photography of macrofossils, specimens large enough to be photographed using a normal spectrum of photographic lenses and extension tubes. Because nearly all paleontological material is illustrated as black and white photographs, no reference will be made to the preparation of color illustrations.

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12

Jacques, Josef. "A Vast Strangeness." Boom 6, no. 2 (2016): 8–21. http://dx.doi.org/10.1525/boom.2016.6.2.8.

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This series of photographs illustrates both the scale and the vast strangeness of California’s Prison Industrial Complex. The prisons are photographed at night from a distance so that the lights from the prison illuminate the landscape. The light that controls the prison population stands as an indicator of state control. The visual effect references the images from the test sites of nuclear bombs, an enormous display of technocratic power reflecting a truly destructive invasion into otherwise peaceful pastoral settings.

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13

Rados, Aleksandar. "Photography travel journal of Belgrade by Ivan Groman a different view of the photographic work of Ivan Groman." Balcanica, no. 32-33 (2002): 197–210. http://dx.doi.org/10.2298/balc0233197r.

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Little is known about a Russian photographer, Ivan Groman. His photographic work, originating in 1876 in the Principality of Serbia, was used repeatedly for illustrations, but has never been thoroughly analyzed as a historic document. Although his photographs, kept in the Archives of the City of Belgrade, the Museum of the City of Belgrade, and the Military Museum in Belgrade, may not represent his entire photographic opus, a thorough analysis of his work may serve the purpose of seeking for the message, and therefore for the aim of his work and stay in Belgrade. A small number of his photographs of Belgrade, constituting small series (?stories?) of a relatively small area, clearly lead to the conclusion that I. V. Groman was not just a photographer ? documentarist with an unquestionable and subtle artistic sense, but also a perceptive and possibly experienced ?documentarist on a military mission?. It does not diminish the significance and value of his photographic work in Belgrade. Quite the opposite. His opus gains the documentary vigor of the travel journal photo-story, which in its expressiveness does not fall short of the travel journals of a more traditional kind.

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14

Fraser, Kathryn. "The Photographic Insane." Cinémas 9, no. 1 (October 26, 2007): 139–51. http://dx.doi.org/10.7202/024777ar.

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ABSTRACT Bazin's famous essay touting the photograph's identicality with its subject was precedented by photography's early relation to empirical investigation in the human sciences (the psychiatry). Contrary to this, what this author wishes to reinforce in this paper is that perception is constructed and integrally bound up with conceptual processes. This paper thus constitutes a short examination of what this author calls the "Photographic Insane," and illustrates how images of madness use, and require for their interpretation, a particular, and culturally shared "schematic" framework.

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15

Kimle, Patricia Anne, and Ann Marie Fiore. "Fashion Advertisements: A Comparison of Viewers' Perceptual and Affective Responses to Illustrated and Photographed Stimuli." Perceptual and Motor Skills 75, no. 3_suppl (December 1992): 1083–91. http://dx.doi.org/10.2466/pms.1992.75.3f.1083.

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The perceptual and affective responses of 44 women to actual illustrated and photographed fashion advertisements during focused interviews were explored. Content analysis methods identified categories of response; frequency of response categories for the two media were compared using Fisher's z tests. Significant differences in perceptual responses included greater visual interest created by the use of color in photographs, greater interest in layout and design features of the illustrations, and interest in characteristics of the models in the photographs. Affective response differences included greater preference for photographic advertisements and the garments in them. Contrary to suggestions from professionals in fashion advertising, no significant differences were found in viewers' perceptions of information about the products in the advertisements or perceptions of meaning and aesthetic response.

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16

Bar-Am, Orna, and Micha Bar-Am. "The illustrator E. M. Lilien as photographer." History of Photography 19, no. 3 (September 1995): 195–200. http://dx.doi.org/10.1080/03087298.1995.10443555.

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17

Walsh, T. "Illustrations in oral presentations: photographs." IEEE Transactions on Professional Communication 41, no. 3 (1998): 209–12. http://dx.doi.org/10.1109/47.712362.

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18

Bixler, Robert D., Courtney L. Crosby, Kelly N. Howell, and Teresa W. Tucker. "Choosing Illustrations of Spider (Faces) for Best First Impressions in Natural History Interpretive Programs A Program Component Analysis." Journal of Interpretation Research 20, no. 2 (November 2015): 7–17. http://dx.doi.org/10.1177/109258721502000202.

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This study demonstrates that faces of spiders that are neotenic are perceived as less scary than others, if not cute. A convenience sample of adults (n=69) at a university distributed 15 photographs spider faces along a ruler based on perceived scariness. Six of the seven photographs of jumping spiders (Family Salticidae) were ranked as least scary. Results suggest that using illustrations of jumping spiders to create a positive affective first impression in interpretive programs about spiders is a reasonable assumption. Spiders in the jumping spider family may be viewed as a –gateway spider.” This study illustrates a research and design approach termed Program Component Analysis (PCA), in which a design question for only a component of a program is subjected to systematic analysis.

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19

Young, Stephen. "Research for Medical Illustrators: Using Linear Scales in Photographs." Journal of Visual Communication in Medicine 32, no. 1 (January 2009): 4–7. http://dx.doi.org/10.1080/17453050802687963.

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20

ROSE, GILLIAN. "Using Photographs as Illustrations in Human Geography." Journal of Geography in Higher Education 32, no. 1 (January 2008): 151–60. http://dx.doi.org/10.1080/03098260601082230.

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21

Spira, S. F. "Panoramic photographs as nineteenth century book illustrations." History of Photography 13, no. 3 (July 1989): 203–14. http://dx.doi.org/10.1080/03087298.1989.10441189.

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22

Adamowicz, E. "L'Europe des revues (1880-1920): estampes, photographies, illustrations." French Studies 64, no. 1 (December 17, 2009): 99–100. http://dx.doi.org/10.1093/fs/knp224.

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23

Das, Shilpi. "Book review: John Guy, Art and Independence: Y.G. Srimati and the Indian Style and Geeti Sen, Meera Mukherjee: Purity of Vision." Studies in People's History 7, no. 2 (December 2020): 240–41. http://dx.doi.org/10.1177/2348448920953998.

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John Guy, Art and Independence: Y.G. Srimati and the Indian Style (Ahmedabad: Mapin Publishing Pvt. Ltd), 2019, 144 pp., 66 colour illustrations, 63 colour photographs, ₹1,750 (Hb). Geeti Sen, Meera Mukherjee: Purity of Vision (Ahmedabad: Mapin Publishing Pvt. Ltd), 2018, 152 pp., 146 colour illustrations, 26 colour photographs, ₹2,950 (Hb).

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24

Frihammar, Mattias. "A Picture is Worth a Thousand Words. On Photographs, Talking Contexts and Visual Silences." Culture Unbound 12, no. 1 (May 26, 2020): 217–32. http://dx.doi.org/10.3384/cu.2000.1525.2020v12a11.

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This paper’s point of departure is that historic silences are socially constructed and culturally productive, and that photographs in archives participate in the creation of historical silences despite, or maybe thanks to, their convincing depicting qualities. In this essay, photographs from three occasions have been studied in detail in order to elucidate different kinds of visual silences. The occasions are i) a funeral where it is the photographer’s own mother that is being buried, ii) a funeral where the coffin is covered in a draping with a swastika, and iii) a royal funeral. Adopting a self-reflexive outlook, the purpose of this essay is to suggest a few possible ways of addressing silences that can occur when the presumptions of a beholder meet the image content of a photograph from the past. The three examples show that the concept of visual silence can be applied in different ways. In the first example, the technical and artistic shortcomings are interpreted as silencing components, which can convey information. In the second example, the (to a contemporary beholder) provocative silence around the historically charged symbol of a swastika becomes an analytical resource in its own right. The last example illustrates how a lot of information can compose such a dominant narrative, that it silences other stories.

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25

Arroyo, Germán, Domingo Martín, and M. Victoria Luzón. "Automatic Generation of Stippling Illustrations from two Photographs." Virtual Archaeology Review 3, no. 5 (May 13, 2012): 89. http://dx.doi.org/10.4995/var.2012.4530.

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<p>In this paper we present a software tool that is able to reconstruct the depth field of the objects from two photographs and to obtain a pseudo 3D model. Using this information our system is able to difference background from foreground, and therefore, what are the interesting elements in the photographs and stipple them in different ways.<br />This tool needs almost no user interaction. The user simply has to align both photographs and indicate the level of detail according to the distance. The rest is decided by our software. Whereas a professional illustrator needs more than 20 hours to finish a similar illustration, our software is able to do it in just few seconds.</p>

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26

Droop, Stephen J. M. "THE UNIVERSAL STRIATOMETER FOR PHOTOGRAPHS AND OTHER ILLUSTRATIONS." Diatom Research 10, no. 2 (November 1995): 351–56. http://dx.doi.org/10.1080/0269249x.1995.9705355.

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27

White, Kenneth, and Tess Takahashi. "Carolee Schneemann (1939–2019): Portfolio." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (September 1, 2021): 198–210. http://dx.doi.org/10.1215/02705346-9052942.

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Abstract A portfolio of select photographs featuring significant works by Carolee Schneemann, photographs of Schneemann at work, and candid photographs of Schneemann with friends and colleagues. The portfolio complements the preceding essays and illustrations collected in the In Practice dossier dedicated to Schneemann. Several photographs in the portfolio have never before been published.

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28

Morris-Reich, Amos. "Two Modes of Political Engagement in Contemporary Israeli Art Photography." IMAGES 11, no. 1 (December 4, 2018): 85–108. http://dx.doi.org/10.1163/18718000-12340085.

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AbstractRanging from photojournalism to landscape photography from the late 1980s to the present, this article studies the ways in which Israeli still art photography has engaged politically with the Israeli-Palestinian conflict. Following historical contextualization of the emergence of critical engagement in the late 1980s and the iconography of the conflict during the first Intifada, and after introducing notions from the sociology of critique, the article uses distinctions made by art photographers in classifying themselves and their peers and identifies two contrasting poles that mark the extremities of the field. Based on the understanding of the distinctness of photography as a medium with regard to the ways the photographer draws on signs from reality, the article characterizes the two modes of engagement as “indirect” or “direct.” The indirect mode is metaphorical, evading the easily identifiable iconography of the conflict; the direct mode focuses on its already visually fixed expressions in order to place its image before the eyes of viewers. The article then illustrates both modes with photographers who consistently pursue either a direct or an indirect mode of engagement and argues for a close relationship between each of the two modes and a distinct conception of politically engaged photographic critique. The article argues that the two modes differ both in terms of their conception of photography and with regard to their conception of politics and political education. Without ignoring ambivalence, which is built into the medium of photography, or the ambiguities built into any attempt of classification, the aim of the article, ultimately, is to bring to the surface the contrasting foundations of the two modes and the methods of engagement to which they are tied.

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29

Seufert, Wolf D., and Hans F. Dietrich. "A Photographic Method for the Rapid Production of Tactile Illustrations." Journal of Visual Impairment & Blindness 80, no. 4 (April 1986): 681–82. http://dx.doi.org/10.1177/0145482x8608000404.

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We describe and discuss a new method which records only information concerning an object's dimensions in black and white photographs. Since the differences in grey values that derive from the object's colors are eliminated, these photographs are then used to produce true relief illustrations for the blind with detail and precision, rapidly and inexpensively.

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30

Li, Yinwen, Xiuwen Zheng, Huayu Zhu, Kun Wu, and Mangeng Lu. "Synthesis and self-assembly of well-defined binary graft copolymer and its use in superhydrophobic cotton fabrics preparation." RSC Advances 5, no. 57 (2015): 46132–45. http://dx.doi.org/10.1039/c5ra06657c.

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31

Ivanov, P. A., A. V. Nevedrov, V. O. Kalenskiy, V. B. Bondarev, and N. N. Zadneprovskiy. "On Preparation of Illustrations for Scientific Publications on Traumatology and Orthopaedics." N.N. Priorov Journal of Traumatology and Orthopedics 24, no. 1 (March 15, 2017): 58–65. http://dx.doi.org/10.17816/vto201724158-65.

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Inadequate attention is paid to the preparation of quality illustrations for scientific publications on traumatology and orthopaedics. Review of the quality of 1221 pictures in three typical journals shows that the majority of patients’ photographs are made against the bad background, with presence of foreign objects, and the photos are made from the angle that does not allow making a reliable picture of function restoration. X-ray examination results and intraoperative photographs are not without disadvantages. Recommendations that can considerably improve the quality of the presenting illustrations and its informational content are given.

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32

Ivanov, P. A., A. V. Nevedrov, V. O. Kalenskiy, V. B. Bondarev, and N. N. Zadneprovskiy. "On Preparation of Illustrations for Scientific Publications on Traumatology and Orthopaedics." Vestnik travmatologii i ortopedii imeni N.N. Priorova, no. 1 (March 30, 2017): 58–65. http://dx.doi.org/10.32414/0869-8678-2017-1-58-65.

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Inadequate attention is paid to the preparation of quality illustrations for scientific publications on traumatology and orthopaedics. Review of the quality of 1221 pictures in three typical journals shows that the majority of patients’ photographs are made against the bad background, with presence of foreign objects, and the photos are made from the angle that does not allow making a reliable picture of function restoration. X-ray examination results and intraoperative photographs are not without disadvantages. Recommendations that can considerably improve the quality of the presenting illustrations and its informational content are given.

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33

Grigorian, Natasha. "Book Review: L’Europe des revues (1880−1920) : estampes, photographies, illustrations." Journal of European Studies 41, no. 2 (May 19, 2011): 184–86. http://dx.doi.org/10.1177/00472441110410020505.

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34

Dinata, Yoan, Agung Nugroho, Iding Achmad Haidir, and Matthew Linkie. "Camera trapping rare and threatened avifauna in west-central Sumatra." Bird Conservation International 18, no. 1 (March 2008): 30–37. http://dx.doi.org/10.1017/s0959270908000051.

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AbstractTropical forests are becoming increasingly degraded and fragmented by logging, which can affect the survival of forest bird species in different ways. In this study, we present avifauna data collected from a monitoring programme in west-central Sumatra that set camera traps in three study areas with different habitat types, levels of degradation and protection status. From 5,990 camera trap-nights, 248 independent bird photographs were recorded, comprising four orders and nine species, including three endemic species. The Great Argus Pheasant (Argusianus argus) was recorded in all study areas and most frequently (n = 202 photographs), followed by the threatened Salvadori's Pheasant (Lophura inornata). The greatest diversity of bird species (five) and abundance index (1.44 bird photographs/100 trap-nights) was recorded from a primary hill-submontane forest site located inside Kerinci Seblat National Park (KSNP) bordering degraded forest in a former logging concession recently repatriated into KSNP. However, inside a primary-selectively logged hill-submontane forest site spread over KSNP and an ex-logging concession, a Sumatran Ground Cuckoo (Carpococcyx viridis) was photographed. This species is noteworthy because prior to this study it had only been documented once since 1916. It is therefore crucial to use the camera trap results to increase the protection status for the ground cuckoo area. This has already happened in the other two study areas, where camera trap data have been used to reclassify the areas as Core Zones, the highest level of protection inside KSNP. This study illustrates how routine monitoring can have wider benefits through recording, and conserving, threatened and endemic non-target species in unexpected habitats that might not otherwise have been surveyed.

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35

Arroyo, Germán, Domingo Martín, and María Victoria Luzón. "Generation of automatic stippling illustrations from photographs for documenting archaeological pieces." Virtual Archaeology Review 2, no. 3 (April 15, 2011): 59. http://dx.doi.org/10.4995/var.2011.4606.

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<p>Hand-made stippling has been used frequently in the process of drawing illustrations for documenting archaeological pieces. This is due to the fact that this technique represents in an efficient way shapes, tones, and textures, by means of distributing dots on the paper. The process of stippling has needed traditionally the ability of an artist, who usually produces the illustration from photographs. In this paper, a program that generates stippling illustrations of high quality is presented. The developed interface makes possible that any user can generate illustrations without the need of artistic abilities. The program is able to work in realtime, allowing the user interacts with the program. We have developed several artistic techniques in high level tasks that allow to improve the final results.</p>

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Pescke, Ismael Krüger, and Tatiana Montanari. "Magic forest, a game about digestion." Cadernos de Educação Tecnologia e Sociedade 14, no. 1 (March 12, 2021): 22. http://dx.doi.org/10.14571/brajets.v14.n1.22-28.

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The making of knowledge is based on the interaction between the subject and the object, and the digital educational games guarantee a multimedia interactivity, because visual and sound stimuli and action resources are conjoined. A game was developed to support the teaching about the digestive system in Science and Biology classes at the elementary and high school level. Magic forest, a game about digestion was created by Adobe Captivate software, using photographs of histological sections under a light microscope, and illustrations and animations made by Adobe Illustrator, Photoshop and After Effects software. The cells of the stomach were personified and inserted in a storyboard about their functional role. Puzzles and memory exercises promoted playfulness and interactivity. Audio was added. The game was published in learning environment Virtual museum of the human body learning environment (www.ufrgs.br/museuvirtual/jogos) with free access. Because visual language and interactivity features of the game, we hope to promote in a dynamic and playful way the understanding about the structure and the physiology of the digestive system.

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MORAVEC, JIŘÍ, DAVID BRZOSKA, and JAN VYBÍRAL. "New or rare Madagascar tiger beetles—21. Physodeutera (Microlepidia) propripenis sp. nov., Ph. (M.) marginemaculata (W. Horn) and Ph. (M.) peyrierasi Rivalier (Coleoptera: Cicindelidae)." Zootaxa 4941, no. 1 (March 5, 2021): 33–50. http://dx.doi.org/10.11646/zootaxa.4941.1.2.

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A new species of the Madagascan endemic genus Physodeutera Lacordaire, 1842 is described from northern Madagascar as Physodeutera (Microlepidia) propripenis sp. nov. The new species is compared to similar Physodeutera (Microlepidia) marginemaculata (W. Horn, 1934) and Physodeutera (Microlepidia) peyrierasi Rivalier, 1967. Apart from a detailed description of the new species, illustrations in colour photographs of its habitus, diagnostic characters and habitat are introduced. Differential diagnoses of the two similar species, as well as illustrations of their habitus and distinguishing characters in colour photographs are presented with references to their redescriptions and illustrations based on type and other relevant specimens in the monograph of the genus (Moravec 2002a). A revised key to the subgenus Microlepidia Rivalier, 1967 is presented in order to supplement the key previously published in the monograph. Essential maps of the distribution of the three species are also given.

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38

WANG, CHAO, WAN-QI XUE, DONG ZHANG, and THOMAS PAPE. "A new species of Sarcophaga Meigen subgenus Hoa Rohdendorf (Diptera: Sarcophagidae)." Zootaxa 4821, no. 3 (August 3, 2020): 585–93. http://dx.doi.org/10.11646/zootaxa.4821.3.9.

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Sarcophaga (Hoa) membranijuxta sp. nov. is described from the Chinese provinces Guangxi and Hainan and documented with illustrations, photographs and scanning electron microscopy images. The habitus and male terminalia of Sarcophaga (Hoa) basiseta Baranov, 1931 are documented with photographs for the first time, and the circumscription and distribution of the subgenus Hoa Rohdendorf, 1937 are updated.

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39

Parmelee, J. A. "The rusts (Uredinales) of arctic Canada." Canadian Journal of Botany 67, no. 11 (November 1, 1989): 3315–65. http://dx.doi.org/10.1139/b89-407.

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Fifty-three taxa in 11 genera are described and illustrated from the Canadian Arctic. Included are a key to the genera and keys to the species within each genus. Prior records in many journals mostly lacked illustrations. Herein light microscope photographs are complemented by SEM photographs to show spore wall ornamentation, an essential character in species delimitation.

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40

Ewing, Maurice, Kenneth Hunkins, and E. M. Thorndike. "Some Unusual Photographs in the Arctic Ocean." Marine Technology Society Journal 40, no. 2 (May 1, 2006): 30–33. http://dx.doi.org/10.4031/002533206787353448.

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Streak photographs of marine animals recorded with a shutterless camera and moving film have furnished information about life deep in the Arctic Ocean. This unexpected occurrence illustrates one of the desirable features of photographic instrumentation. The photographs were obtained with a nephelometer used at the Arctic drifting ice station, T-3, during 1966 and 1967. The animal has been identified as the marine amphipod. Parathemisto abyssorum, Boek.

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RAZANAJAONARIVALONA, ELYSÉ HUGO, JIŘÍ MORAVEC, and HAJANIRINA RAKOTOMANANA. "New or rare Madagascar tiger beetles—20. Pogonostoma (Bathypogonum) horimichioi sp. nov. and supplemented characters of P. (B.) levigatum levigatum (W. Horn) and P. (B.) levigatum lucens Rivalier (Coleoptera: Cicindelidae)." Zootaxa 4926, no. 2 (February 5, 2021): 245–62. http://dx.doi.org/10.11646/zootaxa.4926.2.5.

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Pogonostoma (Bathypogonum) horimichioi sp. nov. is described as new to science from western Madagascar. Apart from a detailed description, illustrations in colour photographs of the habitus, diagnostic characters and habitat of the new species are introduced. A rectified differential diagnosis of the subgenus Bathypogonum Jeannel, 1946 is performed. The new species is compared to other two hitherto known taxa of the subgenus Bathypogonum (in its narrow original concept and sensu Moravec 2007), which are P. (B.) levigatum levigatum W. Horn, 1908 and P. (B.) levigatum lucens Rivalier, 1970. Differential diagnoses of the two taxa with illustrations of their habitus and important distinguishing characters in colour photographs are presented. References to their detailed redescriptions and illustrations, as well as to those of the subgenera Neopogonum Moravec, 2007 and Parapogonum Moravec, 2007 in the monograph of the genus Pogonostoma by Moravec (2007) are given. Essential maps of distribution are also presented.

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Michael Pakenham. "L’Europe des Revues (1880–1920): Estampes, photographies, illustrations (review)." Nineteenth-Century French Studies 38, no. 1 (2009): 118–19. http://dx.doi.org/10.1353/ncf.0.0118.

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Syuderajat, Fajar. "Ideologi Surat Kabar dalam Pemberitaan Terorisme." Communicatus: Jurnal Ilmu komunikasi 1, no. 1 (February 25, 2017): 1–12. http://dx.doi.org/10.15575/cjik.v1i1.1206.

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This paper this study was to determine the ideology of Newspaper Coverage Off Execution Amrozy Cs. on Newspaper Kompas and Republika. The method used in this research is the analysis method semiotics model of Ferdinand de Saussure with a qualitative approach. The results showed that: (a) Option speech text, as well as the news angle images of photographs or illustrations that reproduce the graph becomes a news event is strongly influenced by the ideology of the media is concerned. (B) Compass showing partiality to the international agenda by using the term "terrorists" in its message. This is also strengthened by the news in the form of photo illustrations which only includes figures or portraits of security officers. (C) Republika has a distinctive news angle in reporting the death penalty convicted Bali Bombing Case. They appear at the peculiarities of the text selection, angle coverage, as well as news illustrations are photographs which contains many figures or portraits Amrozi.

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Pacey, Margaret. "New Brunswick Illustration Index." Art Libraries Journal 22, no. 4 (1997): 41–45. http://dx.doi.org/10.1017/s0307472200010658.

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The New Brunswick illustration index is an index to the illustrations in the Legislative Library’s New Brunswick Collection. The illustrations include photographs, engravings, woodcuts, etc. and each is described in a database entry comprised of ten distinct fields. The project, begun in 1989, is not yet complete. The Index is designed to make the unique New Brunswick Collection more accessible.

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Luitzen, Jan, and Wim Zonneveld. "ACTIE OP HET VELD." De Moderne Tijd 1, no. 1 (January 1, 2017): 27–50. http://dx.doi.org/10.5117/dmt2017.1.003.zonn.

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ACTION ON THE PITCH A visual approach to nineteenth century football history in The Netherlands This article illustrates the ‘visual turn’ approach to sports history in an analysis of traditionally under-researched material from the late nineteenth century. Focusing on football (‘soccer’) action photography, we argue that interpreting this visual material contributes significantly to the exploration and interpretation of the broader social and cultural context within which sports were practised and the visual material was produced. Regarding the latter, the photographer’s challenge was to capture the movement inherent in the practice of sports generally and of football specifically. Our analysis explains the time at which these pictures first appear as a consequence of developing possibilities and skills in ongoing photographic experimentation. This is illustrated by a case study of a football action photograph from the archives of the Noorthey Institute for boys in Voorschoten, dating from 1895-1897. There, conducting sports was seen as a way of enhancing the students’ physical and mental strengths, including improved study performance. It took place in an atmosphere of camaraderie among teachers and students, the latter acting as supervisors and teammates at the same time. Beyond the texts, the photographs visualize what this educational approach entailed in actual practice.

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KIM, JUNGGON, MARCOS ROCA-CUSACHS, JONGOK LIM, and SUNGHOON JUNG. "Malagasycoelum dracula gen. and sp. nov., a new genus and a new species of the subfamily Mirinae (Hemiptera: Heteroptera: Miridae) from Madagascar." Zootaxa 4808, no. 1 (July 1, 2020): 165–70. http://dx.doi.org/10.11646/zootaxa.4808.1.10.

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Malagasycoelum dracula gen. and sp. nov. in Adelphocoris-Creontiades-Megacoelum complex is described from Madagascar. Morphological information of the new genus and new species is presented with photographs and illustrations.

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Brown, Michael. "Discriminating Photographs from Hand-Drawn Illustrations in Popular Magazines, 1895-1904." American Journalism 17, no. 3 (July 2000): 15–30. http://dx.doi.org/10.1080/08821127.2000.10739251.

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Gando, Gota, Taiga Yamada, Haruhiko Sato, Satoshi Oyama, and Masahito Kurihara. "Fine-tuning deep convolutional neural networks for distinguishing illustrations from photographs." Expert Systems with Applications 66 (December 2016): 295–301. http://dx.doi.org/10.1016/j.eswa.2016.08.057.

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MU, YI-RAN, and GUO-QING LIU. "New Records of the Genus Jessopocoris Carvalho, 1981 (Hemiptera: Miridae: Bryocorinae), with Descriptions of Two New Species Found in China." Zootaxa 3573, no. 1 (December 6, 2012): 47. http://dx.doi.org/10.11646/zootaxa.3573.1.5.

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Three species of Jessopocoris Carvalho are presented, and J. yunnananus and J. aterovittatus, both from China, are described here as new to science. A key to species of Jessopocoris is given. Photographs of the dorsal habitus and illustrations of the dorsal view of hemelytra and the male genitalia are provided. Descriptions and illustrations of the male genitalic characters of Jessopocoris are provided for the first time.

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KRISHNA, NIKHIL, AYILLIATH KUTTIYERI PRADEEP, and THACHAT JAYAKRISHNAN. "Begonia naga (Begoniaceae, sect. Platycentrum), a new species from Nagaland, India." Phytotaxa 381, no. 1 (December 7, 2018): 6. http://dx.doi.org/10.11646/phytotaxa.381.1.4.

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A new species of Begonia, Begonia naga is described from Mokokchung, Nagaland, India. It belongs to the sect. Platycentrum. Detailed description, photographs, illustrations, distribution map and notes on habitat are provided.

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