Relevant bibliographies by topics / Painted objects

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Painted objects'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Painted objects"

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Stulik, Dusan, and Henry Florsheim. "Binding Media Identification in Painted Ethnographic Objects." Journal of the American Institute for Conservation 31, no. 3 (1992): 275. http://dx.doi.org/10.2307/3179724.

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Stulik, Dusan, and Henry Florsheim. "Binding Media Identification in Painted Ethnographic Objects." Journal of the American Institute for Conservation 31, no. 3 (January 1992): 275–88. http://dx.doi.org/10.1179/019713692806066565.

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Setiawan, Andreas, Fransiscus Dalu Setiaji, Gunawan Dewantoro, and Nur Aji Wibowo. "Photoacoustic Tomography System for Roughly Painted Micro Objects." Journal of Electromagnetic Engineering and Science 19, no. 3 (July 31, 2019): 197–203. http://dx.doi.org/10.26866/jees.2019.19.3.197.

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Gravit, Marina, Artem Krivtcov, Iurii Mingalimov, and Ivanna Popovych. "Сolour Design of Intumescences Сoatings for Building Constructions." Materials Science Forum 871 (September 2016): 146–53. http://dx.doi.org/10.4028/www.scientific.net/msf.871.146.

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For the rational decision of colors on the different building objects it is recommended to use optimal colors to create the best climate at industrial enterprises. For this purpose the appropriate building codes are developed. Building constructions in the industrial enterprises, which are applied fire-retardant paint, also painted in the appropriate color with tinting paste, or applying the finishing coat with that color. It is shown, that the introduction of tinting paste in the fire-retardant paint as overcoating of the fire-retardant paint leads to chaotic effect on height of foam of the intumescing coatings. The conclusions about invalidity of coloring with the fire-retardant paints in saturated tones used tinting paste without preliminary testing on the fire retardant efficiency are made. Similar conclusions are applied to the paint systems for an intumescing fire protective coatings using surface finishing.
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Marx, Annegret. "Blau aus der Waschküche: Wege einer Farbe nach Äthiopien." Aethiopica 4 (June 30, 2013): 158–68. http://dx.doi.org/10.15460/aethiopica.4.1.494.

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In traditional Ethiopian paintings a shining blue is observed. An analysis of four objects from the Museum Haus Völker und Kulturen in St. Augustin shows that they were painted with laundry blue. This substance is of varying composition, and has contained synthetic ultramarine since 1830. Laundry blue was of daily use and carried by travellers and missionaries. It was widely used by painters because of its shining colour and good technical properties. In this article the most likely paths by which synthetic ultramarine could have reached Ethiopia are described. This can be shown to have taken place several decades before 1900, the date that has been hitherto assumed to mark the introduction of synthetic colours. The German Zander was probably the first painter in Ethiopia to decorate a church (Därasge Maryam) with synthetic ultramarine in 1852.
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Umitkaliev, Ulan U., Oleg A. Mitko, and Liudmila V. Lbova. "Painted Astragals of the Bronze Age (Kyrykungir burial ground, East Kazakhstan)." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 1, no. 35 (March 25, 2021): 232–46. http://dx.doi.org/10.24852/pa2021.1.35.232.246.

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The publication presents materials of the funeral necropolis Kyrykungir (East Kazakhstan), in which two sets of astragals with traces of coloring pigments were discovered. The design of the burials accompanying the inventory and the general archaeological context allows dating these objects from the 12th to 13th centuries BC. Data from archaeozoological analysis and SEM-EDX analysis of the painted surface of objects (alchiks) are present in the paper. The species composition of animals has been established, demonstrating a combination of astragals of both domestic and wild species. A diverse chemical composition of paints with which objects were covered, as well as cases of renewal of staining, was revealed. In the initial version, individual astragals could belong to population with different traditions of making paints, possibly from different regions. The results allow us to offer a different point of view on the phenomenon of the presence of alchiks in archaeological cultures. The range of interpretations of astragals (alchiks) finds implies not only understanding them as elements of game traditions, but also designating their complex social and cultural role in the funeral rites of the population of Eurasia in the Bronze Age.
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Barov, Zdravko. "REMOVAL OF INORGANIC DEPOSITS FROM EGYPTIAN PAINTED WOODEN OBJECTS." Studies in Conservation 35, sup1 (September 1990): 19–22. http://dx.doi.org/10.1179/sic.1990.35.s1.005.

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Rogers, Dylan. "The Hanging Garlands of Pompeii: Mimetic Acts of Ancient Lived Religion." Arts 9, no. 2 (May 26, 2020): 65. http://dx.doi.org/10.3390/arts9020065.

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Roman painting is full of items associated with religious practice. Garlands, in particular, are found represented in Roman frescoes, often draped over different panels to enliven the painted surface with the semblance of abundant fresh flowers. There are indications, however, that in Roman domestic spaces, latrines, and streets, physical garlands were actually attached to the frescoes as votive offerings that mimic the painted garlands behind them. This paper considers how Roman paintings worked in tandem with garlands and other physical objects, and how Pompeiians engaged in mimetic acts. The two-dimensional painted surface depicting “mimetic votives” should be viewed within a three-dimensional space inhabited by people and objects. The mimetic act of hanging a garland was part of ancient lived religion, and, as such, enables us to examine past religious experiences, focusing on the individual and communication with the divine. The relationship between these various visual media would have created unique experiences in the daily lives of ancient Romans that are rarely considered today.
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Tserevelakis, George J., Antonina Chaban, Evgenia Klironomou, Kristalia Melessanaki, Jana Striova, and Giannis Zacharakis. "Revealing Hidden Features in Multilayered Artworks by Means of an Epi-Illumination Photoacoustic Imaging System." Journal of Imaging 7, no. 9 (September 10, 2021): 183. http://dx.doi.org/10.3390/jimaging7090183.

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Photoacoustic imaging is a novel, rapidly expanding technique, which has recently found several applications in artwork diagnostics, including the uncovering of hidden layers in paintings and multilayered documents, as well as the thickness measurement of optically turbid paint layers with high accuracy. However, thus far, all the presented photoacoustic-based imaging technologies dedicated to such measurements have been strictly limited to thin objects due to the detection of signals in transmission geometry. Unavoidably, this issue restricts seriously the applicability of the imaging method, hindering investigations over a wide range of cultural heritage objects with diverse geometrical and structural features. Here, we present an epi-illumination photoacoustic apparatus for diagnosis in heritage science, which integrates laser excitation and respective signal detection on one side, aiming to provide universal information in objects of arbitrary thickness and shape. To evaluate the capabilities of the developed system, we imaged thickly painted mock-ups, in an attempt to reveal hidden graphite layers covered by various optically turbid paints, and compared the measurements with standard near-infrared (NIR) imaging. The obtained results prove that photoacoustic signals reveal underlying sketches with up to 8 times improved contrast, thus paving the way for more relevant applications in the field.
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Krąpiec, Marek, and Joanna Barniak. "Dendrochronological Dating of Icons from the Museum of the Folk Building in Sanok." Geochronometria 26, no. -1 (January 1, 2007): 53–59. http://dx.doi.org/10.2478/v10003-007-0003-4.

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Dendrochronological Dating of Icons from the Museum of the Folk Building in SanokDendrochronological analysis was carried out for 13 historic icons from the collection of the Museum of the Folk Building in Sanok, painted on fir and spruce boards. Eleven sequences of the annual growth rings produced from the analysed fir boards were absolutely dated against the fir dendrochronological standard for S Poland, constructed by E. Szychowska-Krąpiec. Most of the analysed objects date back to the seventeenth and eighteenth centuries, only one board was dated to the midnineteenth century. The dendrochronological analyses carried out prove broad possibilities of dating objects of the iconographic art painted on panels from fir wood, originating from south-eastern Poland and adjacent areas.
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Dissertations / Theses on the topic "Painted objects"

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Gatenby, Susannah Lija, and n/a. "The identification of traditional binders used on Australian Aboriginal painted objects prior to 1970." University of Canberra. Applied Science, 1996. http://erl.canberra.edu.au./public/adt-AUC20060711.130218.

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Many painted objects within ethnographic collections suffer from paint loss. In the past, assumptions have been made that this phenomenon was caused by a low binder concentration, although binder presence had not been investigated, confirmed or it's type identified. Simple laboratory methods which can detect the presence of binders on a painted object are outlined. They are based on tests developed for the medical industry and modified by the author for routine use in conservation. Methods presented outline procedures to identify three broad chemical groups of binders used in the manufacture of traditional Australian Aboriginal painted objects : 1. lipids (fats and/or oils) using Sudan Black B Bromination test and the Sigma GCI Triglyceride test; 2. proteins (egg and blood) using Sulphosalicylic Acid test, Sigma GCI Protein test and the GCI Heme test; 3. carbohydrates (honey and orchid juice) using the Sigma GCI Glucose test. Close comparison was found between the reported binders used on certain object types and those identified. Literature findings based on anthropological information on binders and pigments are summarised. They indicated that fat or oil binders have higher binder concentrations than originally expected. Rapid lipid binder deterioration has lead to their present matte appearance. Compared to protein and carbohydrate binders, used as a paint vehicle or facilitator and/or for symbolic representation (blood), where used on a range of ceremonial objects with no long term expectancy and therefore no requirement to adhere or bind the pigment. The concept of "effective" binder concentration as opposed to low binder concentration is discussed. Implications of these findings of binder presence are discussed and considerations for preservation and conservation treatments, which involve consolidation are outlined.
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Shaheen, Islam. "Study of the most effective analysis procedures using multispectral imaging techniques on ancient egyptian painted objects." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29337.

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Multispectral imaging (MSI) used as Initial studies to identify and study painted layers as a non-destructive method. The use of MSI to tentatively identify pigments has an important advantage justifying its application the rapid and low-cost survey of large areas.it is possible to tentatively identify some historical pigments and discover the invisible layers, painting and writing. By means of MSI performed with simplified equipment and without the aid of imaging analysis software. The two selected objects from the Grand Egyptian Museum collection were rich in pigments, first object is polychrome anthropoid wooden coffin lid (GEM No. 22452) the date back to 21st Dynasty (c. 1070 - 945 B.c.) Late period, which belong to the collection of Bab el- Gusus tomb and the second is a Cartonnage mummy trappings on linen (GEM No. 8615) date back to27th dynasty, late period. Different imaging techniques of multispectral imaging like ultraviolet methods (UVF, UVR, and UVRFC) and Infrared methods (IRF, IR, IRFC and IRT) will be studied and evaluated regarding to the efficiency and effectively. Mixing between multispectral imaging and Reflectance transformation imaging will be applied and tested by mix and match between these two techniques we can add value for the results we can get. Several methods will be applied practically to have the required results for evaluating these methods. X-ray fluorescence (XRF) spectrometry was used as a complementary analysis for the identification of the pigments.
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Odegaard, nancy Nell, and n/a. "Archaeological and ethnographic painted wood artifacts from the North American Southwest : the case study of a matrix approach for the conservation of cultural materials." University of Canberra. Applied Science, 1996. http://erl.canberra.edu.au./public/adt-AUC20060822.132115.

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This study examines and demonstrates the value of a matrix approach in the discipline of conservation and the concerns specific to the conservation of archaeological and ethnographic objects. The chapters identify the relevance of the matrix to current conservation practices through a history of artifact conservation and a discussion of the factors that compromise the conservators' role in the study and preservation of material culture. The discussion evaluates the nature of systematic research collections, the impact of legal issues, and the ethics of including cultural context as important aspects in the development of the matrix approach. The matrix approach provides the conservator with a number of variables or categories of information that may assist in the determination of an appropriate conservation process. In this study, the matrix approach was tested on a number of artifact objects. To provide a common link, all of the objects were characterized by paint on some form of cellulose (wood or a wood-like substrate). The object cases were from both ethnographic and archaeological contexts, and the work involved both laboratory procedures and consideration of non-laboratory (i.e. legal, cultural, ethical) aspects. The specific objects included (1) a probable tiponi of archaeological (Anasazi culture) context, (2) a group of coiled baskets of archaeological (Mogollon culture) context, (3) a kachina doll of ethnographic (Hopi culture) context, (4) a group of prayer sticks of archaeological (Puebloan and Tohono O'Odham) context, and (5) a fiddle of ethnographic (Apache culture) context. By recognizing the unique and diverse aspects of anthropology collections, the conservator who uses a matrix approach is better equipped to work with archaeologists on sites, with curators and exhibit designers in museums, and with claimants (or the descendants of an object's maker) in carrying out the multiple activities frequently involved in the conservation of objects as they exist in an ever broadening and more political context.
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Tongo, Gizem. "Ottoman painting and painters during the First World War." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:93232fd7-f634-4b8c-a6f7-16e7eb13b179.

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This study focuses on the Ottoman art world during the First World War and explores how the war changed the conditions of art production, its agents, and the art itself between 1914 and 1918, a topic that has remained peripheral to international cultural histories of the First World War and modern art more generally. In modern Turkish history and art history too, the art of the war years has either been overlooked - buried in the images of the Independence War that followed - or distorted for ideological purposes - emphasizing the militaristic and pro-war aspects of wartime artworks and marginalizing or excluding non-Muslim Ottoman artists from the story. This study details the diverse institutions, exhibitions, patrons, collectors, critics, and artists who made up wartime Ottoman art world, as well as the rich variety of visual images produced during the war years, from popular illustrations to easel paintings. During the war, like other belligerent governments, the Ottoman state and semi-official patriotic associations commissioned artists to produce war-related works for internal and international propaganda purposes and, as the war progressed, as a historical record of national endeavour. Whilst some Ottoman artists gained a more popular appeal via the propagandistic wartime mass culture, the current of ethnic Turkism which fed into this posed a major challenge to the empire's well-established cosmopolitan artistic milieu. Above all, this study reconsiders the view that propaganda, jingoism, and militarism entirely dominated the cultural scene between 1914 and 1918, recovering how Ottoman artists' paintings often figured the struggles of soldiers in battle and of civilians on the home front in ways that were, if not openly pacifistic, more complex and ambivalent than later mythmaking allowed. The thesis hopes to make original contributions to the history of modern Ottoman/Turkish art, the social history of the Ottoman home front, and the international cultural and art history of the First World War.
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Bi, Huichao. "Corrosion protection by paint : cathodic disbonding." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:b92b86b0-abb0-4945-8f07-f394b9e9eb5b.

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This work investigated cathodic disbonding of an unpigmented phenalkamine-cured epoxy coating on mild steel, EC, exposed to 3.5 wt.% NaCl solution. Scanning Acoustic Microscopy (SAM), Scanning Kelvin Probe (SKP), Electrochemical Impedance Spectroscopy (EIS) and optical microscopy have been combined to conduct this study. Several factors affecting the cathodic disbonding process: Film thickness, Cation mobility, Electrolyte concentration, Temperature, Paint composition, Polarisation and Open circuit potential, have been investigated. SAM results show that the disbonding of EC with a linear scribe spreads outwards from the defect with blisters forming at the anodes (as shown in SKP potential maps) within the disbond. The disbonded region does not correspond to complete adhesion loss as verified by peel-testing. Semi-immersion tests show that disbonding under full- and semi-immersion conditions have similar behaviours and both follow parabolic kinetics indicating the disbonding is likely to be controlled by a transport process along the coating/metal interface. An intact epoxy coated mild steel panel coupled with bare mild steel shows that the cathodic reaction beneath the coating obeys Tafel law. A mathematical model simulating cathodic disbonding which produces realistic potential files and shows the oxygen reduction is mostly located near the disbond mouth has been developed.
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Shaik, Asif ur Rahman. "Real time video segmentation for recognising paint marks on bad wooden railway sleepers." Thesis, Högskolan Dalarna, Datateknik, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4204.

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Wooden railway sleeper inspections in Sweden are currently performed manually by a human operator; such inspections are based on visual analysis. Machine vision based approach has been done to emulate the visual abilities of human operator to enable automation of the process. Through this process bad sleepers are identified, and a spot is marked on it with specific color (blue in the current case) on the rail so that the maintenance operators are able to identify the spot and replace the sleeper. The motive of this thesis is to help the operators to identify those sleepers which are marked by color (spots), using an “Intelligent Vehicle” which is capable of running on the track. Capturing video while running on the track and segmenting the object of interest (spot) through this vehicle; we can automate this work and minimize the human intuitions. The video acquisition process depends on camera position and source light to obtain fine brightness in acquisition, we have tested 4 different types of combinations (camera position and source light) here to record the video and test the validity of proposed method. A sequence of real time rail frames are extracted from these videos and further processing (depending upon the data acquisition process) is done to identify the spots. After identification of spot each frame is divided in to 9 regions to know the particular region where the spot lies to avoid overlapping with noise, and so on. The proposed method will generate the information regarding in which region the spot lies, based on nine regions in each frame. From the generated results we have made some classification regarding data collection techniques, efficiency, time and speed. In this report, extensive experiments using image sequences from particular camera are reported and the experiments were done using intelligent vehicle as well as test vehicle and the results shows that we have achieved 95% success in identifying the spots when we use video as it is, in other method were we can skip some frames in pre-processing to increase the speed of video but the segmentation results we reduced to 85% and the time was very less compared to previous one. This shows the validity of proposed method in identification of spots lying on wooden railway sleepers where we can compromise between time and efficiency to get the desired result.
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Brown, Ruth Katharine. "The rise of the leisure painter : artistic creativity within the experience of ordinary life in postwar Britain, c. 1945-2000." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4f9bec84-094e-4ec9-b36a-3b66e9330076.

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Since John Ruskin and William Morris's protestations against mass production in the nineteenth century, critics of mass consumption thought that it not only reduced the necessity, but also the desire, to make things for personal use and enjoyment. The history of leisure painting in art societies and adult education, and of the amateur artist’s consumption of art materials and self-help literature, shows that, on the contrary, affluence both inspired and facilitated a quest for self-actualisation amongst the rank and file. Creative activities such as drawing and painting served this quest at little financial cost to the individual. Following the Second World War, a significant increase in the take-up of leisure painting was encouraged by the state as part of the broader postwar settlement. The pursuit of personal wellbeing through creative activity was regarded as a public good, of benefit not only to individuals but also to the communities of which they were a part. In the last quarter of the twentieth century, state support for recreational pursuits such as leisure painting was pared back: in the shift from collectivist social democracy towards individualist market liberalism, personal enjoyment was recast as a private affair for which the consumer must pay. Painting continued to grow in popularity, supported by expanding consumer markets in self-help literature and affordable art materials. Yet while consumerism sustained the popularity of amateur art-making, the ways in which amateur artists participated in the arts changed. Personal creativity emerges here as an inherently social activity: the private experience of creativity is mediated and structured by society. Consumerism was not bad for personal creativity per se, but the replacement of a communitarian approach with a consumerist model restricted the breadth and reach of creative aspiration nurtured as part of the postwar settlement. By the end of the century, most amateurs were painting alone.
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O'Neil, Maryvelma Smith. "Giovanni Baglione : seventeenth-century artist, draughtsman and biographer of artists." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:b1494a9e-8c16-4d48-9553-0f63da44cb6c.

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This thesis explores Baglione's contributions to art and to the history of art by examining the nature of his artistic and critical originality and the significant influences thereon. In the work for which he is best known, Le Vite ... (1642), Baglione was an interesting and generous critic who was unusually receptive to pictorial effects, even when in architecture and sculpture. He assesses Caravaggio's accomplishments with well chosen observations thereby breaking his restriction to discuss only accessible works of art. A broad view of his paintings and drawings shows Baglione's complex, original and thoughtful voyage of discovery assisted by the intelligence with which he absorbed artistic influences, particularly from Raphael and the Cavalier d'Arpino. His refined style of drawing distances him from Caravaggio. In paintings from the first decade, light and shadow give form to graceful figures enveloped in voluminous garments. After 1610 the compositions become more inventive and increasingly Baroque. Baglione's attempt to make a synthesis out of ideal generalization and naturalistic description and to explore new subject matter constituted a search for a "maniera propria" that combined stylistic originality with a penchant for unusual iconography. The most important trends in Baglione's draughtsmanship are the tendency towards a broader, freer handling and the versatility with which he handles the technical means at his disposal. Though he often crosses over the line into the Baroque, the idealism of his Tusco-Roman formation and fondness for angular lines constrain him from fully yielding to a dynamic disposition. His very personal style can be seen in a number of drawings from the 1620s and 1630s that attain a remarkable pictorial aspect and a Baroque quality of sensual presence. His sophisticated use of the three chalk technique prefigures the form dissolving effects to be popularized by Watteau. At the same time, the defining contour line that emphasizes integrity is not abandoned.
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Premeaux, Benjamin. "Forgotten Memories." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/84.

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Memories are experiences that are removed from our present time and space. The images I create are also removed; they are of a specific time and place, an instant or series of instances captured. The work I have produced in this program is an amalgamation of two artistic media, photography and paint. I choose to layer images to emphasize the complexity of experiences and to illustrate a sense of time. The combination of a mechanical and a handmade object emphasizes the intricacy of our experiences. What is revealed is a combination of color and image that creates multiple compositions within the whole. Layering paint with photography and sculpture allows me to continue to experiment and explore the variety of media that I find most interesting. I draw inspiration from many artists including Jackson Pollack, Willem DeKooning, Richard Diebenkorn, the Starn Twins, David Hockney and Frida Kahlo.These influences and my own interpretations are what makes my work my own.
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Banks, Bryan John. "The metamorphosis of painting : an examination of the changes in the use of oil paint in the 19th century and its replacement in the 20th century by non-art materials and three-dimensional objects." Thesis, University of Liverpool, 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433773.

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Books on the topic "Painted objects"

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Decorative designs: Over 100 ideas for painted interiors, furniture, and decorated objects. Boston: Little, Brown, 1996.

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A, Schwartz Steven, ed. Fantastic painted finishes: Twenty-eight recipes for transforming ordinary objects into extraordinary treasures. New York: Crown Trade Paperbacks, 1994.

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Wassong, Lisa. Fantastic painted finishes: Twenty-eight recipes for transforming ordinary objects into extraordinary treasures. New York: Crown Trade Paperbacks, 1994.

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Richard, Gartley, ed. Chinas: Hand-painted marbles of the late 19th century. Zanesville, Ohio: Muskingum Valley Archaeological Survey, 1990.

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Navarro, M. Pilar. Decorating ceramics: A guide to the history, materials, equipment, and techniques of ornamenting ceramic objects with applied, incised, and painted decoration. New York: Watson-Guptill Publications, 1996.

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Power, Dale. Carving miniature carousel animals. Atglen, PA: Schiffer Pub., 1997.

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Découpage & decorative paint finishes: Creating treasures out of everyday objects. Pleasantville, N.Y: Reader's Digest, 1995.

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Indiana, Gary, author of foreword and Ramírez Nelson interviewer, eds. Building my silence. Milan: Charta, 2013.

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Ingres, Jean-Auguste-Dominique. Lettres d'Ingres à Marcotte d'Argenteuil. Nogent-le-Roi: Librairie des Arts et Métiers-Ed. Jacques Laget, 1999.

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Ingres, Jean-Auguste-Dominique. Lettres d'Ingres à Marcotte d'Argenteuil. Nogent-le-Roi: Librairie des Arts et Métiers-Editions Jacques Laget, 2001.

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Book chapters on the topic "Painted objects"

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Andersen, Kirsti. "The Master of Painted Architecture: Andrea Pozzo, S. J. and His Treatise on Perspective." In Geometrical Objects, 165–88. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-05998-3_7.

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Di Fiore, Fabian, Tom Schaessens, Robin Marx, Frank Van Reeth, and Eddy Flerackers. "Real-Time Hand-Painted Graphics for Mobile Games." In Articulated Motion and Deformable Objects, 148–59. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08849-5_15.

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van den Heuvel, Lisanne, Inez van der Werf, Coos van Waas, and Klaas Jan van den Berg. "Approaches to the Identification of Royal Talens ETA (Emulsion) Paint in Objects of Art." In Conservation of Modern Oil Paintings, 97–107. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_7.

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Farris, Colin D., and Robert J. Lucas. "The Batch Selection by a Prolog Rule Base of Objects on a Conveyor for Paint Spraying." In System Fault Diagnostics, Reliability and Related Knowledge-Based Approaches, 215–24. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-009-3931-8_17.

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Kelvin, Norman. "The Painting as Physical Object in a Verbal Portrait: Pater’s ‘A Prince of Court Painters’ and Wilde’s ‘The Portrait of Mr W. H.’." In Victorian Aesthetic Conditions, 117–34. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281431_8.

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Eichler-Levine, Jodi. "Conclusion." In Painted Pomegranates and Needlepoint Rabbis, 177–82. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469660639.003.0009.

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Using a Passover matzah cover called “Old Plagues on Them, New Plagues on Us” as its centrepiece, the book’s conclusion expands upon the themes of memory and intergenerational transmission to ponder what one stitcher called “the fabric of forever.” Through objects, Jewish crafters create a sustainable Judaism, one that is always in progress, connecting people separated by both space and time through vibrant materiality.
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Eichler-Levine, Jodi. "In the Beginning." In Painted Pomegranates and Needlepoint Rabbis, 24–49. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469660639.003.0003.

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In the beginning, there was a handkerchief. This chapter examines how Jewish women generate resilience through the activity of crafting. From a Los Angeles octogenarian who describes the meditative nature of sewing a wimpel, or Torah binder, to reflections on gender and Judaism from a working mother, the story of this chapter is the story of how generativity is gendered. Rather than taking a biological connection between women and fecundity for granted, it unsettles the ways we think about both human reproduction and the production of objects.
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Van Horn, Jennifer. "Introduction." In Power of Objects in Eighteenth-Century British America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469629568.003.0001.

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Elite colonists in the port cities of Boston, New York, Philadelphia, and Charleston sought to construct a new civil society on the margins of the British Empire. They turned to material artifacts as a means of building networks between people. Through purchase of common goods and similar modes of object use, colonial consumers formulated communities of taste that drew individuals together. Colonists relied upon the power of assemblage to transform their individual identities and to create a sensus communis. The portraits painted by Joseph Blackburn in Bermuda and New England illuminate the regional divergences in transatlantic polite culture and point to the local bonds forged through artifacts and objects’ power to assemble the social.
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Van Horn, Jennifer. "Masquerading as Colonists." In Power of Objects in Eighteenth-Century British America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469629568.003.0005.

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This chapter studies a series of portraits of young women dressed for the masquerade, completed by English artist John Wollaston in Charleston, South Carolina. Although Wollaston painted the sitters in historic costume appropriate for a public masked ball, no masquerades were held in the British North American colonies. Instead, these fictional portrayals allowed colonial women to vicariously participate in the sexually riotous assemblies. For male colonists, the paintings underlined the need to contain women’s sexuality. In a colonial environment, many feared women’s proximity to native Americans would spur savage behaviors and compromise civil society. Most of the portraits feature young women about to be married, connecting their masked visages with the metaphor of a woman in courtship who masked her affections to attain the best husband. Wollaston’s adoption of mask iconography also resonates with the tumultuous 1760s, marked by the growing political crisis between Great Britain and her American colonies, when colonists questioned the nature of their identity as imperial subjects and feared British duplicity.
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Jordan, Julia. "Accidental Subjects, or Ann Quin’s Literature of Possibility." In Late Modernism and the Avant-Garde British Novel, 140–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857280.003.0006.

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Ann Quin is often painted as an isolated and rebarbative voice, more influenced by the nouveau roman than by any of her peers. Her novels display to various degrees a narrative capacity for waiting, lingering, doing nothing, and for silence. This chapter links the notions of latency and unrealized possibility in her fiction to her dissolution of the subject. Her characters are defined by their hazy lack of definition, which this chapter will link to the ways in which she thinks people, and, relatedly, objects, are and are not used. Her texts refuse utility of all kinds; so do her characters, and so do her things. This chapter therefore argues that Quin’s attraction to the microscopic and phenomenological, her formal elevation of uncertainty into a narrative device, and her philosophically informed decentring of the subject, make her one of the most significant avant-garde figures of the period.
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Conference papers on the topic "Painted objects"

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Cheung, C. S., M. Tokurakawa, J. M. O. Daniel, W. A. Clarkson, and H. Liang. "Long wavelength optical coherence tomography for painted objects." In SPIE Optical Metrology 2013, edited by Luca Pezzati and Piotr Targowski. SPIE, 2013. http://dx.doi.org/10.1117/12.2021700.

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Danescu, Radu, and Sergiu Nedevschi. "Detection and classification of painted road objects for intersection assistance applications." In 2010 13th International IEEE Conference on Intelligent Transportation Systems - (ITSC 2010). IEEE, 2010. http://dx.doi.org/10.1109/itsc.2010.5625261.

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Naruto Yonemoto, Akiko Kohmura, and Motoharu Matsuzaki. "Painted styrene radome for foreign objects and debris detection radar in W-band." In 2009 IEEE Radar Conference. IEEE, 2009. http://dx.doi.org/10.1109/radar.2009.4976992.

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Liang, H., C. S. Cheung, J. M. O. Daniel, M. Tokurakawa, W. A. Clarkson, and M. Spring. "High resolution Fourier domain Optical Coherence Tomography at 2 microns for painted objects." In SPIE Optical Metrology, edited by Luca Pezzati and Piotr Targowski. SPIE, 2015. http://dx.doi.org/10.1117/12.2185071.

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Santo, Loredana, Vincenzo Tagliaferri, and Federica Trovalusci. "Diode Laser Cure of Thermosetting Powders for Writing on Painted and Unpainted Metallic Surfaces." In ASME 2009 International Manufacturing Science and Engineering Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/msec2009-84242.

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This paper describes an innovative system to make writings or patterns on painted or unpainted metallic surfaces by diode laser cure of thermosetting powders. The process is very interesting to personalize objects such as automotive components and others. An electrostatic deposition of commercial thermosetting powder is performed on metallic surfaces, the laser beam passes on the deposited powder following a fixed path and cures it. A process map was found in terms of laser power and scan speed. The laser power is in the range 55–70 W for a scan speed of 1 or 2 mm/s in the case of metallic surfaces, while the power is in the range 35–50 W for the same scan speeds in the case of painted surfaces. Visual inspection and scratch tests were performed in order to evaluate the aspect and the adhesion to the substrate. Very good results were found demonstrating that the diode laser is a useful tool to make writing.
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Karagiannis, Georgios Th. "High resolution spectroscopic mapping imaging applied in situ to multilayer structures for stratigraphic identification of painted art objects." In SPIE Photonics Europe, edited by Peter Schelkens, Touradj Ebrahimi, Gabriel Cristóbal, Frédéric Truchetet, and Pasi Saarikko. SPIE, 2016. http://dx.doi.org/10.1117/12.2227943.

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Dupont, Erwan, Frédéric Lamarque, Christine Prelle, and Tanneguy Redarce. "Tri-Dimensional Optical Inspection Based on Flexible Image Guide: First Step Toward 3D Industrial Endoscopy." In ASME 2012 11th Biennial Conference on Engineering Systems Design and Analysis. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/esda2012-82453.

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3D optical endoscopy is now a major challenge to allow the high resolution inspection of industrial equipments. The proposed instrument is based on a flexible image guide (70 000 fibres) and a Digital Micro mirror Device (DMD, 1024 × 768 “on-off” micro mirrors). The optical design is as follows: the light emitted by a 532 nm laser diode is dynamically structured by the DMD chip as a fringes pattern which is phase-shifted due to the active control of the DMD chip and projected onto an object on a circular field of 6 mm in diameter. Due to a telecentric and binocular arrangement that creates a stereoscopic angle, it is possible to get a depth of field of 2 mm along the optical axis without keystone distortions and few disturbances created by defocus and coma aberrations. Then, images are captured by a 1024 × 768 digital camera (not yet moved away by fibres) at 15 fps and directly used in the reconstruction algorithm to access the tri-dimensional shape of the unpainted object. The results are compared to incoherent white light results obtained with white painted mechanical objects. The lateral resolution is 31.3 μm and the RMS axial resolution is 10 μm for the laser-based design after speckle attenuation.
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McPherson, Finlay N., Jonathan R. Corney, and Raymond C. W. Sung. "Path Planning for Automated Robot Painting." In ASME 2007 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/detc2007-35301.

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This paper describes the analysis work underlying the path-planning algorithm for a robotic painting system. The system requires no bespoke production tooling and fills an automation gap in rapid prototyping and manufacturing technology that is currently occupied by hand painting. The system creates images by exposing individual pixels of a photographic coating with a robot-mounted laser. The painting process requires no physical contact so potentially images could be developed on any shape regardless of its complexity: As objects can only be “painted” when their surface can be “hit” (i.e. exposed) by the light beam the system requires six degrees of freedom to ensure all overhanging or reentrant areas can be exposed. The accuracy of serial robots degrades with the length of the kinematic chain (in other words six axis robots cannot position themselves with the same accuracy as four axis ones). Consequently to ensure high precision in the location and orientation of the light source, the object being exposed is mounted on a rotary tilt table within the workspace of a four-axis robot. This gives a six-degree of freedom positioning system composed of two separate kinematic chains. Although the resulting system is accurate the problems of constructing a coordinated path that allows the light beam to efficiently sweep (i.e. cover) the surface regardless of its geometry are challenging. This paper describes the difficulties and, after reviewing existing path planning algorithms, a new algorithm is introduced firstly by describing the nature of the system’s configuration space and then further developing this concept as an alternative to a previously described planning algorithm. Having outlined the approach the paper presents a kinematic model for the system and compares the configuration space approach to a purely Cartesian planning approach.
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Gasparetto, A., R. Vidoni, E. Saccavini, and D. Pillan. "Optimal Path Planning for Painting Robots." In ASME 2010 10th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2010. http://dx.doi.org/10.1115/esda2010-24259.

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In this work, a robotic painting task is addressed in order to automate and improve the efficiency of the process. Usually, path planning in robotic painting is done through self learning programming. Recently, different automated and semi-automated systems have been developed in order to avoid this procedure by using a CAD-drawing to create a CAD-guided trajectory for the paint gun, or by acquiring and recognizing the overall shape of the object to be painted within a library of prestored shapes with associated pre-defined paths. However, a general solution is still lacking, which enables one to overcome the need for a CAD-drawing and to deal with any kind of shapes. In this paper, graph theory and operative research techniques are applied to provide a general and optimal solution of the path planning problem for painting robots. The object to be painted is partitioned into primitives that can be represented by a graph. The Chinese Postman algorithm is then run on the graph in order to obtain a minimum length path covering all the arcs (Eulerian path). However, this path is not always optimal with respect to the constraints imposed by the painting process, hence dedicated algorithms have been developed in order to generate the optimal path in such cases. Based on the optimal path, the robot trajectories are planned by imposing a constant velocity motion of the spray gun, in order to ensure a uniform distribution of the paint over the object surface. The proposed system for optimal path planning has been implemented in a Matlab environment and extensively tested with excellent results in terms of time, costs and usability.
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Miti Ruchanurucks, Shunsuke Kudoh, Koichi Ogawara, Takaaki Shiratori, and Katsushi Ikeuchi. "Robot painter: from object to trajectory." In 2007 IEEE/RSJ International Conference on Intelligent Robots and Systems. IEEE, 2007. http://dx.doi.org/10.1109/iros.2007.4399010.

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Reports on the topic "Painted objects"

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Porcel Magnusson, Cristina. Unsettled Topics Concerning Coating Detection by LiDAR in Autonomous Vehicles. SAE International, January 2021. http://dx.doi.org/10.4271/epr2021002.

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Autonomous vehicles (AVs) utilize multiple devices, like high-resolution cameras and radar sensors, to interpret the driving environment and achieve full autonomy. One of these instruments—the light detection and ranging (LiDAR) sensor—utilizes pulsed infrared (IR) light, typically at wavelengths of 905 nm or 1,550 nm, to calculate object distance and position. Exterior automotive paint covers an area larger than any other exterior material. Therefore, understanding how LiDAR wavelengths interact with vehicle coatings is extremely important for the safety of future automated driving technologies. Sensing technologies and materials are two different industries that have not directly interacted in the perception and system sense. With the new applications in the AV industry, multidisciplinary approaches need to be taken to ensure reliability and safety in the future. Unsettled Topics Concerning Coating Detection by LiDAR in Autonomous Vehicles provides a transversal view of different industry segments, from pigment and coating manufacturers to LiDAR components and vehicle system development and integration. The report includes a structured decomposition of the different variables and technologies involved.
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