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Journal articles on the topic 'Painting manuals'
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1
Warner, Lyndan. "Kinship Riddles." Genealogy 6, no. 2 (May 12, 2022): 43. http://dx.doi.org/10.3390/genealogy6020043.
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In the medieval to early modern eras, legal manuals used visual cues to help teach the church laws of consanguinity and affinity as well as concepts of inheritance. Visual aids such as the trees of consanguinity or affinity helped the viewer such as a notary, law student or member of the clergy to do the ‘computation,’ or reckon how closely kin were related to each other by blood or by marriage and by lines of descent or collateral relations. Printed riddles in these early legal manuals were exercises to test how well the reader could calculate whether a marriage should be deemed incest. The riddles moved from legal textbooks into visual culture in the form of paintings and cheap broadside prints. This article examines a riddle painting ‘devoted’ to William Cecil when he was Elizabeth I’s principal secretary, before he became Lord Burghley and explores the painting’s links to the Dutch and Flemish kinship riddles circulating in the Low Countries in manuscript, print and painting. Cecil had a keen interest in genealogies and pedigrees as well as puzzles and ciphers. As a remarried widower with an eldest son from a first marriage and children from his longer second marriage, Cecil lived in a stepfamily typical of the sixteenth century in England and Europe. The visual kinship riddles in England and the Low Countries had a common root but branched into separate traditions. A shared element was the young woman at the centre of the images. To solve the riddle the viewer needed to determine how all the men in the painting were related to her as if she were the ego, or self, at the centre of a consanguinity tree. This article seeks to compare the elements that connect and diverge in the visual kinship riddle traditions of the sixteenth and seventeenth centuries in the Low Countries and England.
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Mastrotheodoros, Georgios P., and Konstantinos G. Beltsios. "Original Varnish Recipes in Post-Byzantine Painting Manuals." Heritage 4, no. 4 (October 17, 2021): 3572–82. http://dx.doi.org/10.3390/heritage4040197.
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During the last decades, manuscripts have become increasingly available through digitization and deposition in online repositories. This trend has very much facilitated primary source research, as scholars are no longer subjected to time- and effort-consuming processes such as travel, applications for photography permissions, and so on. In this framework, the authors set forth the results of research that deals with post-Byzantine panel-painting varnish recipes which were found in a hitherto unpublished Greek painting manual dating back to 1824. The recipes in consideration are compared to those existing in the renowned “Hermeneia” by Dionysios of Fourna (early 18th century) painter’s manual. A brief discussion dealing with various pertinent terms, along with a note on data deriving from the analytical investigation of varnish samples stemming from post-Byzantine icons are also included in this work. The study reveals a shift towards lean and intermediate varnish recipes during the early 19th century that might reflect the progression of resins and oleoresins, and the gradual replacement of oil-based varnishes. In addition, a unique recipe describing various methods of varnish application is transcribed and commented upon. Finally, the analytical data revealed an unexpected employment of a protein-based varnish in a mid-19th century icon.
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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.
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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.
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Bologna, Francesca. "Water and stone: the economics of wall-painting in Pompeii (A.D. 62-79)." Journal of Roman Archaeology 32 (2019): 97–128. http://dx.doi.org/10.1017/s1047759419000072.
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This article investigates production times, workforce, and materials involved in the creation of wall-paintings, applying figures obtained from pre-industrial building manuals and through experimental archaeology. This is a crucial yet — at least with regard to Roman wall-painting – unexploited avenue for research, one that has already been successfully applied to the study of ancient construction, stone-working, and mosaic production.1 The implications of this type of study are twofold: estimating labour figures allows us to assess painters’ working practices and workforce organization, yet it can also help uncover the burden sustained by patrons in both economic and personal terms, thereby providing a more realistic notion of what it meant to have one’s house decorated. Ultimately, this can lead to a better understanding of local markets and of the socio-economic implications of the wall-painting industry
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Bolshakova, Svetlana Evgenievna. "Valaam Monastery School of Painting." Secreta Artis, no. 4 (January 21, 2021): 41–72. http://dx.doi.org/10.51236/2618-7140-2020-3-4-41-72.
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The article is dedicated to the formation of Valaam’s own school of painting for monks and novices of the monastery. This process consisted of several stages connected to both the historical development of the monastery itself, as well as the expanding influence of the Russian Imperial Academy of Arts. The official establishment of the painting school, which trained artists according to academic methods, dates back to the late 19th – early 20th centuries. The entire preceding history of the monastery paved the way for the inauguration of the school. In particular, the monastery gathered a carefully selected collection of engravings and reproductions of famous religious paintings, art manuals, human anatomy atlases and picturesque copies of popular works of art. Construction of the new Transfiguration Cathedral, to be supposedly painted by monastery artists, provided the main impetus for the eventual opening of the school. Gifted Valaam monks Alipiy (Konstantinov) and Luka (Bogdanov), as well as a student of the Russian Academy of Arts, V. A. Bondarenko, taught at the monastery’s school. Among some of the most diligent students of the school were hegumen Gavrill (Gavrilov), the main proponent of its establishment and its trustee, along with monk Fotiy (Yablokov), the future head of the icon painting workshop. The school continued to operate until the monks of the Valaam Monastery were forced to flee to Finland as a result of hostilities that broke out in the archipelago during the Soviet-Finnish war of 1939–1940.
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Carlyle, Leslie. "Paint Driers Discussed in 19th-Century British Oil Painting Manuals." Journal of the American Institute for Conservation 38, no. 1 (1999): 69. http://dx.doi.org/10.2307/3179839.
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Carlyle, Leslie. "Paint Driers Discussed in 19th-Century British Oil Painting Manuals." Journal of the American Institute for Conservation 38, no. 1 (January 1999): 69–82. http://dx.doi.org/10.1179/019713699806113538.
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Moutafov, Emmanuel. "Post-Byzantine hermeneiai zographikes in the eighteenth century and their dissemination in the Balkans during the nineteenth century." Byzantine and Modern Greek Studies 30, no. 1 (2006): 69–79. http://dx.doi.org/10.1017/s0307013100015056.
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This article focuses on the significance of the Orthodox painters’ manuals, called hermeneiai zographikes, in the development of post-Byzantine iconography and painting technology and techniques in the Balkans during the eighteenth and nineteenth centuries. Using a number of unpublished painters’ manuals (Greek and Slavonic) as primary sources for the study of Christian and Ottoman culture in the Balkan peninsula, it is possible to examine perceptions of Europe in the Balkans, in particular the principal routes for the transmission of ideas of the European Enlightenment, as well as the role of artists as mediators in the processes of ‘Europeanization'.
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Houghteling, Sylvia. "Dyeing the Springtime: The Art and Poetry of Fleeting Textile Colors in Medieval and Early Modern South Asia." Religions 11, no. 12 (November 24, 2020): 627. http://dx.doi.org/10.3390/rel11120627.
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This paper explores the metaphorical and material significance of short-lived fabric dyes in medieval and early modern South Asian art, literature, and religious practice. It explores dyers’ manuals, paintings, textiles, and popular and devotional poetry to demonstrate how the existence of ephemeral dyes opened up possibilities for mutability that cannot be found within more stable, mineral pigments, set down on paper in painting. While the relationship between the image and the word in South Asian art is most often mutually enhancing, the relationship between words and color, and particularly between poetry and dye color, operates on a much more slippery basis. In the visual and literary arts of South Asia, dye colors offered textile artists and poets alike a palette of vibrant hues and a way to capture shifts in emotions and modes of devotion that retained a sense of impermanence. More broadly, these fragile, fleeting dye materials reaffirm the importance of tracing the local and regional histories even of objects, like textiles, that circulated globally.
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Oh, Heyjin. "Imitation and Creation of Late Joseon Period Southern School-style Literati Landscape Paintings : The Acceptance of Painting Manuals’ Categorizing System." Art History Forum 42 (June 30, 2016): 59–82. http://dx.doi.org/10.14380/ahf.2016.42.59.
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von Mirbach, Henning. "Art by the Book. Painting Manuals and the Leisure Life in Late Ming China." Monumenta Serica 64, no. 2 (July 2, 2016): 516–19. http://dx.doi.org/10.1080/02549948.2016.1259797.
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Darmanto, Seno, Sutanto Sutanto, Sulaiman Sulaiman, and Eko Julianto Sasono. "APLIKASI TEKNOLOGI SEDERHANA DAN PERMESINAN UNTUK MENINGKATKAN KEAHLIAN RENOVASI LAMBUNG PERAHU." J-ABDIPAMAS (Jurnal Pengabdian Kepada Masyarakat) 2, no. 1 (April 25, 2018): 53. http://dx.doi.org/10.30734/j-abdipamas.v2i1.157.
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ABSTRACTApplications of technology and machinery equipment in service activities are done to complete the renovation and repair of boats or wooden vessels. Development of the infrastructure for members of the fishermen group is currently focused on equipment for the repair and renovation of the boat hull and the maintenance of the driving machine. And for the improvement of the renovation or repair of the boat hull, the service team has compiled a working activity including understanding and deepening of boat or wooden boats, engineering and equipment for renovation and boatbuilding, understanding and deepening of ship damage, and implementation in a group of fishermen. The process of maintenance and repair of boats on the ship's body (hull) in fishermen partners in principle were carried out through several stages include the washing and cleaning of all parts of the ship, patching, coating and painting. The process of painting through several stages of surface cleaning, patching if there are starting cracks and holes, drying, smoothing, basic coating and painting. Some tools for boats maintenance and repair especially for renovation and manufacture of wooden boats consist of saws (machines and manuals), drills, fittings, grinders, cutting (various sizes), clamps and other support equipmentKeywords: boat, hull, propulsion machine, machinery ABSTRAKKegiatan pengabdian aplikasi teknologi dan peralatan permesinan dilakukan untuk menyempurnakan renovasi dan perbaikan perahu atau kapal kayu. Pengembangan kelengkapan sarana anggota kelompok nelayan pada saat ini difokuskan pada peralatan untuk perbaikan dan renovasi lambung atau bodi dan perawatan mesin penggerak. Dan untuk penyempurnaan renovasi atau perbaikan kapal kayu, tim pengabdian menyusun langkah kerja atau kegiatan pengabdian meliputi pemahaman dan pendalaman perahu atau kapal kayu, teknik dan peralatan renovasi dan pembuatan perahu, pemahaman dan pendalaman kerusakan kapal, dan sejenisnya dan pelaksanaan di kelompok nelayan. Proses perawatan dan perbaikan kapal pada bagian badan kapal (lambung kapal) di mitra nelayan pada prinsipnya dilakukan melalui beberapa tahapan meliputi pencucian seluruh bagian kapal, penambalan (pemakalan), pendempulan dan pengecetan kapal. Proses pengecatan melalui beberapa tahapan yakni pembersihan permukaan, penambalan kalau ada yang mulai retak dan berlubang, pengeringan, penghalusan, pelapisan dasar dan pengecatan. Beberapa peralatan perawatan dan perbaikan lambung perahu terutama untuk renovasi dan pembuatan perahu kayu meliputi gergaji kayu (mesin dan manual), bor, pasah, gerinda, tatah (berbagai ukuran), clem/pencepit dan peralatan pendukung lain.
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Burkus-Chasson, Anne. "Art by the Book: Painting Manuals and the Leisure Life in Late Ming China by J. P. Park." Harvard Journal of Asiatic Studies 73, no. 1 (2013): 164–70. http://dx.doi.org/10.1353/jas.2013.0014.
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Bosch, Sebastian, and Andreas Janke. "Manuscript Illumination in 19th-century Italy. Material Analysis of Two Partial Copies from the Squarcialupi Codex." Open Information Science 5, no. 1 (January 1, 2021): 63–88. http://dx.doi.org/10.1515/opis-2021-0006.
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Abstract The illuminations in two Italian manuscripts are still a mystery today. Both manuscripts were based fully or partly on the Florentine Squarcialupi Codex (Florence, Biblioteca Medicea Laurenziana, Med. Pal. 87) dating from around 1410/15. With the help of a multi-analytical, non-destructive approach employing mobile instrumentation (XRF spectroscopy, visible reflectance spectroscopy and infrared reflectography), we examined the manuscripts Toronto, Thomas Fisher Rare Book Library, MSS 09700 and Düsseldorf, Kunstpalast, Inv. K 1925-67 for the first time with regard to their production processes. The identification of modern pigments allows them to be contextualized in illumination practices of the 19th century. Manuals of that time provide a wealth of information on specific illumination practices and the availability of writing and painting materials, which correlates with the actual artefacts.
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von Imhoff, Hans-Christoph, and Leslie Carlyle. "The Artist's Assistant, Oil Painting Instruction Manuals and Handbooks in Britain 1800-1900 with Reference to Selected Eighteenth-Century Sources." Studies in Conservation 47, no. 2 (2002): 139. http://dx.doi.org/10.2307/1506854.
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Von Imhof, Hans-Christoph. "The Artist's Assistant, Oil Painting Instruction Manuals and Handbooks in Britain 1800-1900 With Reference to Selected Eighteenth-Century Sources." Studies in Conservation 47, no. 2 (January 2002): 139–40. http://dx.doi.org/10.1179/sic.2002.47.2.139.
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Merlin, Monica. "Book review: Art by the book: painting manuals and the leisure life in late Ming China, written by J. P. Park." East Asian Publishing and Society 4, no. 2 (July 8, 2014): 192–93. http://dx.doi.org/10.1163/22106286-12341265.
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Qin, Zhengtao, Jing Zhao, Shidong Liang, and Jiao Yao. "Impact of Guideline Markings on Saturation Flow Rate at Signalized Intersections." Journal of Advanced Transportation 2019 (April 8, 2019): 1–13. http://dx.doi.org/10.1155/2019/1786373.
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Many intersections around the world are irregular crossings where the approach and exit lanes are offset or the two roads cross at oblique angles. These irregular intersections often confuse drivers and greatly affect operational efficiency. Although guideline markings are recommended in many design manuals and codes on traffic signs and markings to address these problems, the effectiveness and application conditions are ambiguous. The research goal was to analyze the impact of guideline markings on the saturation flow rate at signalized intersections. An adjustment estimation model was established based on field data collected at 33 intersections in Shanghai, China. The proposed model was validated using a before–after case study. The underlying reasons for the impact of intersection guideline markings on the saturation flow rate are discussed. The results reveal that the improvement in the saturation flow rate obtained from painting guide line markings is positively correlated with the number of traffic lanes, offset of through movement, and turning angle of left-turns. On average, improvements of 7.0% and 10.3% can be obtained for through and left-turn movements, respectively.
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Olazar, Giovana da Silva, Daniele Araujo Altran, Raphael Soares Erbes, and Andreza Mangueira da Silva. "URBANISMO TÁTICO: ESTUDO E PROPOSTA DE INTERVENÇÃO NO ENTORNO DA ESCOLA MUNICIPAL JOAQUIM MURTINHO DA CIDADE DE DOURADOS-MS." COLLOQUIUM EXACTARUM 15, no. 1 (December 19, 2023): 1–17. http://dx.doi.org/10.5747/ce.2023.v15.e415.
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The urbanism was created to concern with urban planning because to exponential population growth, later tactical urbanism emerged based on short and low-term changes that immediately created a restructuring of space. The Joaquim Murtinho Municipal School was chosen as a study site for possible tactical urban planning applications in Dourados-MS, with the propouse of analyzing its surroundings and providing a local intervention project. The methodology used was the observational method, the volumetric count process standardized by the National Department of Transport Infrastructure (DNIT, 2006) and a collection of data on school traffic by municipal bodies. To this end, an intervention project was developed in the school environment, covering some impermanences studied and in accordance with the local reality, based on the implementation of mini squares, lengthening of roads and painting on the road that can be done by students as a way of creating bonds between the environment and the child. The proposed based on municipal laws on land use and occupation and accessibility, on brazilian signage manuals and regulations regarding movable floor signage.
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Fomicheva, Daria Vladimirovna. ""Picturesque graphics": three pencil technique, multi-layered charcoal drawing." Secreta Artis, no. 1 (July 11, 2021): 16–46. http://dx.doi.org/10.51236/2618-7140-2021-4-1-16-46.
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The article describes methods of achieving painterly qualities while drawing with soft materials, which include: 1) creation of a polychrome image effect using an extremely limited color palette (white, black and red chalk (sanguine)); 2) thorough work on a multi-layer charcoal drawing employing techniques similar to those of multi-layer watercolor, oil and pastel painting, as well as papier-pelle drawing. The study was first conducted by analyzing drawing manuals, catalogs of manufacturers and suppliers of art materials from France, Great Britain, Germany, USA and Russian Empire in the second half of the 19th – early 20th century. What is more, the author of the article assembled a collection of antique tools and materials for drawing with charcoal, black chalk or crayon, stumping chalk (pulverized charcoal), sanguine and white chalk, the use of which was widespread in the aforementioned period. The annex to the article provides photographs of the described instruments and materials accompanied by the aggregate data from art manuals, catalogs and price lists of drawing material suppliers from London, Paris, New York, St. Petersburg, Moscow and Kazan, published over a period from 1851 to 1913. The drawing tradition of the second half of the 19th century is among one of the most complex and challenging in the entire history of graphics, as it peculiarly combines in itself a variety of instruments and delicate thoroughness of techniques. As a result of the research, the author was able to expand and complement the existing knowledge about graphic techniques, which allows for teaching academic drawing and studying the history of drawing by applying new data and unique illustrative material.
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Fragasso, Laura, and Nicola Masini. "Postprocessing of Infrared Reflectography to Support the Study of a Painting: The Case of Vivarini's Polyptych." International Journal of Geophysics 2011 (2011): 1–8. http://dx.doi.org/10.1155/2011/738279.
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Infrared (IR) reflectography is an imaging diagnostic technique widely used to study and evaluate the assessment of paintings' conservation state. The study case analyzed in this paper is related to a polyptych panel attributed to Vivarini's workshop conserved in the “Sigismondo Castromediano” Museum in Lecce. The painting's IR reflectography has been acquired through a CCD camera with spectral sensitivity ranging 400–1150 nm and manual positioning system. In order to offset the technological limits of the CCD camera, reflectograms have been processed through Principal Component Analysis and spectral indices. Postprocessing provided information related to the different pictorial drafting and restoration works, as well as emphasized graphic details and shadings, useful to improve the knowledge of the painting techniques.
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Mafredas, Thomas, Eleni Kouloumpi, and Stamatis C. Boyatzis. "Did Dionysius of Fourna Follow the Material Recipes Described in His Own Treatise? A First Analytical Investigation of Four of His Panel Paintings." Heritage 4, no. 4 (October 20, 2021): 3770–89. http://dx.doi.org/10.3390/heritage4040207.
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A research protocol based on imaging techniques and physicochemical analyses was designed and carried out in order to investigate the construction technology of four panel paintings produced by a very important 18th century artist, hieromonk Dionysius from Fourna. Dionysius was the first painter of the post-Byzantine period who wrote an artists’ manual for the Eastern Orthodox painting art: he recorded and described in his treatise ‘Hermeneia of Art Painting’ the materials and construction techniques of the 18th century Christian painting. The contribution of Dionysius and his ‘Hermeneia of the Painting Art’ is decisive because it gathers all the previously scattered advice and guidelines about the construction of panel paintings and the information quoted by him is probably the only official recorded source of Eastern Orthodox art technology. In this context, four panel paintings signed by Dionysius were selected for scientific research: it is the first time that an effort is made to analytically characterize the materials used by the hieromonk, to recognize the construction technology, and examine whether it follows the recipes included in his manuscript or not.
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Austin, Linda M. "The Lament and the Rhetoric of the Sublime." Nineteenth-Century Literature 53, no. 3 (December 1, 1998): 279–306. http://dx.doi.org/10.2307/2903041.
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The appearance of melodramatic language and gesture in nineteenth-century lyric poetry was underwritten by two theories of ecstasis, the sense of losing oneself or going beyond the limits of comprehension. The first kind of ecstasis belonged to the sublime reaction, as Kant and Burke had imagined it. The second sort belonged to the picture of the disordered mind in the medical literature. A rhetoric of shock and loss in the melodramatic lyric bears the remains of the inchoate language and wild gestures in ancient lamentation but also refers to more recent performances of overpowering emotion on stage. Conventional reactions to sublime landscapes in painting, for example, employ expressions and gestures inventoried both in Longinus's treatise on the sublime and in acting manuals for tragedians. Percy Bysshe Shelley's "A Lament" (1821) and Richard Harris Barham's "Epigram" (1847) are performances of the sublime confrontation with the idea of death. Both poems were attempts to record ecstasis and to transcribe melodramatic acting. "Epigram," moreover, alludes to another interpretation of ecstasis in the lately popular Romantic ballet. This revolutionary technique created an illusion of bodilessness-a vision of the body losing itself and fading into nothing. The reformulations of the sublime in philosophy and medicine thus enabled a set of signifying practices that appear in transcriptions of lamentation and in dance. Both are efforts to perform the sublime moment.
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Синельникова, Татьяна Анатольевна. "The right to creativity." Академический вестник УралНИИпроект РААСН, no. 4(55) (December 30, 2022): 89–94. http://dx.doi.org/10.25628/uniip.2022.55.4.015.
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В статье на примере самоучки Степана Бублика показана разработка методологии заочного обучения живописи и графике в 1930-1950-е годы. Работа Дома народного творчества с самоучками в 1930-1950-е годы проанализирована на основе репродукций произведений, архивных материалов, методических пособий и каталогов выставок. Автор приходит к выводу, что несмотря на то, что художественный примитив в творчестве самодеятельных художников активно подавлялся, индивидуальный подход к каждому слушателю заочных курсов стал основой, на которой в последующем было построено преподавание в Заочном народном университете искусств. Это дало раскрыться таланту многих художников, которых сегодня причисляют к классикам наивного искусства. The article shows the development of a methodology for distance learning of painting and graphics in the 1930s-1950s on the example of the self-taught Stepan Bublik. For this, an analysis was made of the work of the House of Folk Art with self-taught people in the 1930-1950s on the basis of the studied works, archival materials, methodological manuals and exhibition catalogs. The author comes to the conclusion that despite the fact that the artistic primitive in the work of amateur artists was actively suppressed, an individual approach to each student of correspondence courses became the basis on which teaching at the Correspondence People‘s University of Arts was built. This made it possible to reveal the talent of many artists, who today are considered classics of naive art.
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Berehovska, H. "William Kurelek’s “Multicultu-ralism”: author’s creative method." Culture of Ukraine, no. 72 (June 23, 2021): 176–82. http://dx.doi.org/10.31516/2410-5325.072.25.
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The purpose of the study — to analyze the phenomenon of the author’s style “multiculturalism” in the painting of the Canadian-Ukrainian artist W. Kurelek, as well as to characterize the unique author’s artistic technique.
The methodology. Symbolic-metaphysical and philosophical aspects of the artist’s work are studied on the basis of art analysis of individual paintings. The method of formal and stylistic analysis helped to identify the appearance of individual works, characterized the artistic processes that took place in the Canadian-Ukrainian environment, which had a significant impact on the work of W. Kurelek. This method effectively helped in the stylistic characterization of the canvas, in particular in identifying the formal organization of the work: space, time, color, light, rhythm, composition, perspective.
The scientific topicality. The role of W. Kurelek in the formation of the multicultural process in Canada is proved, in particular the importance of his art — chronicles of the formation and development of Canadian emigrants (Frenchmen, Irishmen, Ukrainians, Jews, Poles), as well as the first comprehensive study of the author’s creative method “multiculturalism”.
The practical significance. Theoretical material can be used in scientific art and cultural studies, as well as for teaching courses in: history of Ukrainian culture in the diaspora, art of the Ukrainian diaspora, the development of Ukrainian art in Canada, in the preparation of textbooks and manuals.
The conclusions. The author’s creative method “multiculturalism” of the Canadian artist, the grandson of the first Ukrainian emigrants W. Ku-relek has been studied. The uniqueness of this creative method lies in the system of abilities of the artist. First of all, it is a comparative approach to the selection of ideas and thematic outlines of works, which was based on a long analysis of the historical context, socio-cultural environment and futuristic predictions, which the artist observed and tried not just narratively capture in his work.
From childhood, from his first emigrant grandparents, and later from his own experience of “dual” identity, it was very important for the artist to record in painting the presence and contribution of each emigrant group that was a member of multicultural Canadian society. In order to properly crystallize the author’s style, W. Kurelek traveled to all twelve provinces of Canada, capturing the geopolitical, climatic, natural and social characteristics of each province. He studied the histories of the aboriginal tribes, the arrival of the first emigrants, and the stages of the “multiplication” and integration of the various waves of emigrants on Canadian land. The uniqueness of this style was that the artist did not generalize the standard image of “Frenchman”, “Irishman”, “Pole”, but went by inductive method, studying the history of a person, his life, as well as the history of a country, its art , traditions, music, literature, customs, even cooking.
The unique artistic author’s “mixed” technique obtained by long-term experiments and the influence of Nikolaides’ artistic method on the compositional structure of W. Kurelek’s work are also analyzed.
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Fu, Yunfei, Hongchuan Yu, Chih-Kuo Yeh, Tong-Yee Lee, and Jian J. Zhang. "Fast Accurate and Automatic Brushstroke Extraction." ACM Transactions on Multimedia Computing, Communications, and Applications 17, no. 2 (June 2021): 1–24. http://dx.doi.org/10.1145/3429742.
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Brushstrokes are viewed as the artist’s “handwriting” in a painting. In many applications such as style learning and transfer, mimicking painting, and painting authentication, it is highly desired to quantitatively and accurately identify brushstroke characteristics from old masters’ pieces using computer programs. However, due to the nature of hundreds or thousands of intermingling brushstrokes in the painting, it still remains challenging. This article proposes an efficient algorithm for brush Stroke extraction based on a Deep neural network, i.e., DStroke. Compared to the state-of-the-art research, the main merit of the proposed DStroke is to automatically and rapidly extract brushstrokes from a painting without manual annotation, while accurately approximating the real brushstrokes with high reliability. Herein, recovering the faithful soft transitions between brushstrokes is often ignored by the other methods. In fact, the details of brushstrokes in a master piece of painting (e.g., shapes, colors, texture, overlaps) are highly desired by artists since they hold promise to enhance and extend the artists’ powers, just like microscopes extend biologists’ powers. To demonstrate the high efficiency of the proposed DStroke, we perform it on a set of real scans of paintings and a set of synthetic paintings, respectively. Experiments show that the proposed DStroke is noticeably faster and more accurate at identifying and extracting brushstrokes, outperforming the other methods.
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Watkins, Holly. "The Floral Poetics of Schumann's Blumenstück, Op. 19." 19th-Century Music 36, no. 1 (2012): 24–45. http://dx.doi.org/10.1525/ncm.2012.36.1.024.
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Abstract Robert Schumann's Blumenstück, op. 19, a short piano piece dating from 1839, is generally not included among the composer's more poetically inspired or formally adventurous pieces. Thanks in part to Schumann's own disparaging remarks about the piece, Blumenstück, like the stylistically similar Arabeske, op. 18, has been viewed as a fairly straightforward effort to appeal to amateur consumers—especially women consumers—of domestic piano music. Rather than recuperate Schumann's piece through a revelation of its structural achievements, this article links the piece's mixed aesthetic status to the similar standing of flowers (and the genre of flower painting to which Schumann's title alludes) in early-nineteenth-century German culture. Emblematic of women and the expression of conventional sentiments, flowers nonetheless constituted a remarkably evocative symbol in Romantic literature. Sentimental and Romantic discourses of the flower converged in the trope of Blumensprache (the language of flowers), an idea that found expression in both popular manuals cataloguing the meanings of flowers and the more esoteric environments of Schumann's criticism, E. T. A. Hoffmann's tales, and Heinrich Heine's poetry. In each of these venues, flowers served as imaginary conduits joining mundane and transcendent realms. Drawing on the work of Friedrich Kittler, I argue that Schumann's Blumenstück, with its conflicting imperatives of pleasure and instruction, congenial melody and motivic intertwining, conflates aesthetic and reception-based categories in a related manner and, as a result, undermines traditional means of generic classification.
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Аксенова, Галина Владимировна. "Claudius Vasilievich Lebedev as a Church painter and a Bible Illustrator." Вестник церковного искусства и археологии, no. 3(4) (August 15, 2020): 61–76. http://dx.doi.org/10.31802/bcaa.2020.4.3.004.
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В статье дана характеристика творчества представителя русской реалистической школы академика К. В. Лебедева, принявшего участие в росписи Вознесенского собора в г. Ельце и создавшего иконостас для болгарской церкви святого Стефана в Стамбуле. Любимым жанром для К. В. Лебедева стала историческая живопись, позволяющая с помощью красочности древнерусских костюмов и особенностей обстановки показать характеры людей. Как художник-график, К. В. Лебедев проиллюстрировал произведения классиков русской литературы. Иллюстрации к некоторым из них до настоящего времени остаются лучшими и непревзойдёнными как по технике исполнению, так и по глубине понимания образов. Среди крупнейших работ художника - иллюстрации к текстам Ветхого и Нового Заветов, к церковным пособиям и изданиям, изданным в начале XX в. в типографии И. Д. Сытина. The article describes the artistic heritage of the representative of the Russian realistic school, Academician K.V. Lebedev, who took part in the decorating of the Ascension Cathedral in Yelets and created the iconostasis for the Bulgarian Church of St. Stephen in Istanbul. Historical painting became his favorite genre and allowed to show the characters and the peculiarities of the situation through colorful ancient Russian costumes. As a draughtsman, K.V. Lebedev illustrated works of the classical Russian writers. The illustrations for some of them still remain the best and unsurpassed both in the technique of performance and in the depth of understanding the image. Among the artist’s biggest projects there are illustrations of the Old and New Testaments, church manuals and publications published at the beginning of the 20th century. in the printing house of I. D. Sytin.
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Tian, Tian, and Feng Nan. "A Multitask Convolutional Neural Network for Artwork Appreciation." Mobile Information Systems 2022 (April 14, 2022): 1–8. http://dx.doi.org/10.1155/2022/8804711.
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The computational aesthetics of pictorial art is an important part of human artistic creation, and the computational aesthetics of pictorial art images is a computationally computable human aesthetic process using machines, which has important applications and scientific significance in the automated analysis of large-scale paintings and the computational modeling of perception by machines. To this end, this paper proposes a multitask convolutional neural network model for emotion and rating of artworks. (1) An artwork appreciation dataset consisting of fifty Chinese paintings and fifty Western oil paintings was created, and twenty subjects were recruited to score the art appreciation of one hundred artworks in the dataset, covering both painting aesthetic evaluation and painting emotion evaluation. (2) Based on the artwork art appreciation dataset, an AlexNet-based convolutional neural network model is proposed to utilize the powerful feature extraction and classification capabilities of neural networks to complete artwork art appreciation, and an oversampling method and multitask learning method are used to improve the overall recognition accuracy. (3) Compared with the combination of traditional manual features + machine learning algorithms, the end-to-end multitask convolutional neural network proposed in this paper has the highest accuracy rate of 74.57%/71.43%/74.12%.
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Gang, Liang, and Gao Weishang. "The Effectiveness of Pictorial Aesthetics Based on Multiview Parallel Neural Networks in Art-Oriented Teaching." Computational Intelligence and Neuroscience 2021 (August 23, 2021): 1–14. http://dx.doi.org/10.1155/2021/3735104.
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How to effectively improve the effectiveness of art teaching has always been one of the hot topics concerned by all sectors of society. Especially, in art teaching, situational interaction helps improve the atmosphere of art class. However, there are few attempts to quantitatively evaluate the aesthetics of ink painting. Ink painting expresses images through ink tone and stroke changes, which is significantly different from photos and paintings in visual characteristics, semantic characteristics, and aesthetic standards. For this reason, this study proposes an adaptive computational aesthetic evaluation framework for ink painting based on situational interaction using deep learning techniques. The framework extracts global and local images as multiple input according to the aesthetic criteria of ink painting and designs a model named MVPD-CNN to extract deep aesthetic features; finally, an adaptive deep aesthetic evaluation model is constructed. The experimental results demonstrate that our model has higher aesthetic evaluation performance compared with baseline, and the extracted deep aesthetic features are significantly better than the traditional manual design features, and its adaptive evaluation results reach a Pearson height of 0.823 compared with the manual aesthetic. In addition, art classroom simulation and interference experiments show that our model is highly resistant to interference and more sensitive to the three painting elements of composition, ink color, and texture in specific compositions.
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Chai, David. "Shitao and the Enlightening Experience of Painting." Dialogue and Universalism 31, no. 3 (2021): 93–112. http://dx.doi.org/10.5840/du202131347.
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Having reached its zenith in the Song dynasty, Chinese landscape painting in the dynasties that followed became highly formulaic as artists simply copied the old masters to perfect their skills. This orthodox approach was not accepted by everyone however; some painters criticized it, arguing it was better to learn the ideas behind the techniques of the old masters than to blindly copy them. Shitao was one such critic and his Manual on Painting exemplifies his desire to disassociate himself from the classical approach to painting. This paper will investigate the three major themes of Shitao’s text—the holistic brushstroke, brush and ink, and the method of no-method—in order to show how they shaped his view of landscape painting and how said paintings subsequently embodied them. Unlike the near-scientific approach taken by his contemporaries and predecessors, Shitao paints to capture the unifying simplicity of nature, an onto-aesthetic experience that is profoundly enlightening.
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Hassan, M. A. S. M., A. B. Shahriman, Z. M. Razlan, N. S. Kamarrudin, M. S. M. Hashim, W. K. N. Khairunizam, A. Harun, et al. "Investigating and improving Boeing aircraft composite panel industrial painting issues by designing smart robotic precision painting system." Journal of Physics: Conference Series 2051, no. 1 (October 1, 2021): 012028. http://dx.doi.org/10.1088/1742-6596/2051/1/012028.
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Abstract Aerospace Composites Malaysia (ACM) Sdn Bhd produces one of the aircraft components, which is an aircraft composite panel. Currently, the painting of the composite aircraft panel is manually conducted by the high skilled human operator. However, there are several issues of manual painting, which are the precision of the thickness specifications, uneven spray, dust-free, microbubble, colour appearance, and contour of the aircraft composite panel. Consequently, these issues contribute to the aircraft aerodynamic performances, productivity, and index time of the aircraft composite panel’s production. Thus, the main objectives are to investigate the human painting mimicking robot incorporated with the existing painting environment. The proposed environment becomes smart precision painting systems. In conclusion, the proposed prototype will overcome the quality issue of aircraft composite panel painting faced by Boeing worldwide aircraft industries. Furthermore, the proposed prototype will increase productivity and contribute to the maintaining of the aircraft’s aerodynamic performance.
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Ripollés, Carmen. "Fictions of Abundance in Early Modern Madrid: Hospitality, Consumption, and Artistic Identity in the Work of Juan van der Hamen y León." Renaissance Quarterly 69, no. 1 (2016): 155–99. http://dx.doi.org/10.1086/686329.
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AbstractThis article examines how still-life painting contributed to the creation of a distinct urban aristocratic culture in seventeenth-century Madrid. Focusing on a group of paintings by Juan van der Hamen, the article situates these images within the context of the picture gallery and the practice of aristocratic hospitality. By giving visual form to this new urban mode of magnificence, Van der Hamen’s still lifes created a fiction of abundance that glossed over Madrid’s economic realities. At the same time, Van der Hamen concealed signs of manual craftsmanship and commercial interest in order to advance and ennoble his own artistic identity.
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Fomicheva, Daria Vladimirovna. "The Third Dimention in a Landscape." Secreta Artis, no. 4 (January 21, 2021): 74–82. http://dx.doi.org/10.51236/2618-7140-2020-3-4-74-82.
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The present study examines the principles of conveying the third dimension in landscape painting. The author analyzes the recommendations provided in J. Littlejohns’ manual entitled “The Composition of a Landscape” [London, 1931]. J. Littlejohns describes four methods of showing depth in a landscape painting, each illustrated with pictorial composition schemes: 1) portrayal of long roads, which allows one to unveil the plasticity of the land surface; 2) creation of a “route” for the viewer by means of a well-thought-out arrangement of natural landforms; 3) introduction of vertically and horizontally flowing streams of water on different picture planes; 4) depiction of cloud shadows on a distinctly hilly landscape. The author of the article compares the schemes contained in the manual of J. Littlejohns with the works of G. G. Nissky, which enables readers to comprehend and reflect on the compositions of the masterpieces created by a prominent figure in Soviet art; on the other hand, Nissky’s landscape paintings open for a deeper understanding of the meaning and effectiveness of the methods proposed by J. Littlejohns. The outlined composition techniques are certainly relevant for contemporary artists (painters, graphic artists, animators, designers, etc.) as they make it possible to achieve the plastic expressiveness of a three-dimensional space in a twodimensional image.
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Claypool, Lisa. "Art by the Book: Painting Manuals and Leisure Life in Late Ming China. By J.P. Park. Seattle: University of Washington Press, 2012. xii, 309 pp., 16 color plates, 99 black and white illus. $50.00 (cloth)." Journal of Asian Studies 72, no. 1 (February 2013): 191–93. http://dx.doi.org/10.1017/s0021911812001994.
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Zhang, Gillian Yanzhuang. "Making a Canonical Work: a Cultural History of the Mustard Seed Garden Manual of Painting, 1679-1949." East Asian Publishing and Society 10, no. 1 (March 20, 2020): 73–113. http://dx.doi.org/10.1163/22106286-12341341.
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Abstract As the most widely-used painting manual in China, the Mustard Seed Garden Manual of Painting (Jieziyuan huazhuan 芥子園畫傳, hereafter Mustard Seed) has long been considered to have been a handbook for beginners. This article problematizes this relatively fixed notion by examining different editions of the manual and argues that the pedagogical function that most people take for granted is an anachronistic construction. In fact, the woodblock-printed Mustard Seed was regarded as an illegitimate painting manual in the mainstream art scene after its publication because it used woodblock printing to convey painting techniques. The canonization of the manual started in the late Qing (1862-1911), as a result of the availability of affordable lithographic editions. It soon became a primer for many would-be painters and gradually entered art schools in the Republican period (1912-1949), changing the traditional pedagogies of painting education. While highlighting the multivalent social functions of Mustard Seed, this paper will also show how changes in printing technique are connected to Mustard Seed’s canonization.
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Kindall, Elizabeth, Ihor Pidhainy, and Adam Bohnet. "J. P. Park,Art by the Book: Painting Manuals and the Leisure Life in Late Ming China.Seattle: University of Washington Press, 2012. 336 pp., 117 illus., 16 in color. $50.00 (HB). ISBN 978-0-295-99176-4." Ming Studies 2013, no. 67 (May 2013): 72–79. http://dx.doi.org/10.1179/0147037x13z.00000000014.
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Paramita, Divia Indri, and Hayatunnufus Hayatunnufus. "Perbandingan Hasil Face Painting Menggunakan Teknik Manual Dan Teknik Airbrush Pada Makeup Karakter." JURNAL PENDIDIKAN DAN KELUARGA 11, no. 02 (April 30, 2020): 219. http://dx.doi.org/10.24036/jpk/vol11-iss02/648.
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Prias is not only required to enhance the appearance of the face and hair, but also a total appearance complete with supporting appearance that can reinforce one's character. This study aims to determine the results of face painting using manual techniques and airbrush techniques on character makeup and determine the differences in face painting results between manual techniques and airbrush techniques on character makeup. The type of this research is Quasy Experimental. The study population was 45 students with 4 samples. T test test analysis technique. Based on the research results obtained face painting cosmetology using manual techniques that the highest value is found in the aspects of time efficiency and color sharpness of 3.88 has very good criteria and the lowest on flatness with an average of 2.25 good criteria , the results of face painting make-up using airbrush technique flatness aspect average 3.81 on very good criteria, and at an average time efficiency of 3.88 very good criteria, the lowest on color sharpness with an average of 3.44 good criteria and there are differences in the face painting results between the manual technique and the airbrush technique in the aspect of flatness (p <0.05) and there is no difference in the face painting results between the manual technique and the airbrush technique in the aspect of time efficiency. solid or creamy because the results of cosmetics that are applied can be more flat and directly attached.Keywords: face painting, manual techniques, airbrush techniques, clown character makeup
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Melnichuk, Anastasia. "From the classical ideal to the neoclassical aesthetics of the body in the art of post-revolutionary France. A new era of plastic anatomy at the Academy and the School of Fine Arts." Bulletin of Lviv National Academy of Arts, no. 46 (October 18, 2021): 46–53. http://dx.doi.org/10.37131/2524-0943-2021-46-4.
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Background. The article considers the stages of formation of anatomical science in two major art institutions of France in the XIX century, the Academy of Painting and Sculpture and the School of Fine Arts. Developments of theoretical works and bases of formation and development of plastic anatomy by known anatomists, anthropologists and artists-scientists of the XIX century are considered. Particular attention was paid to leading scientific and theoretical manuals on plastic anatomy. Excerpts from the works of the leaders of this discipline or researchers of their heritage have been translated from the original language. The methodical principles of teaching plastic anatomy are substantiated and the names of personalities who influenced the formation of plastic anatomy in the Academy and the School of Fine Arts are given. Their scientific work was of great importance for the development of anatomical science at the Academy and the School of Fine Arts. Thanks to them, not only the teaching process but also its spatial and architectural environment becomes important. The genesis of the term "plastic anatomy" is considered. Particular attention is paid to the transition from the term "anatomy" to the artistic term "plastic anatomy", which, in fact, is becoming typical of higher art education. Objectives. The purpose of the study is to highlight the methods of teaching plastic anatomy at the Academy and the School of Fine Arts during the XIX century. Methods. With the help of theoretical, informational methods and generalization method, the obtained research data were systematized and streamlined, the possibility of finding a solution to the problem was revealed and the practicality of the obtained results was evaluated. Results. For the first time in Ukrainian art history, material on the methods of teaching plastic anatomy was collected at the Academy and the School of Fine Arts of the XIX century. Conclusions. Prospects for further research require clarification of the relationship between anatomical practice and the philosophy of pragmatism, as well as a closer examination of some famous personalities (artists and anatomists-scientists) given in the article, who made a great contribution to the development of plastic anatomy.
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Perry, Rachel E. "Paint Boldly!: Dubuffet's DIY Manual." October 154 (October 2015): 87–110. http://dx.doi.org/10.1162/octo_a_00238.
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In 1948, Jean Dubuffet wrote a thirty-one-page pamphlet entitled Peinturez hardi (Paint boldly!) for his unrealized Almanach de l'art brut. Divided into twelve monthly installments, this “treatise on the techniques of painting” reads like a how-to manual, presenting concise, straightforward guidelines for what materials to use and how to use them. As a practical guide for the amateur, it inventories and evaluates products on the market (much like an issue of Consumer Reports) and then offers more economical, do-it-yourself recipes for the “common man.” Drawing largely from the techniques and materials of house painting, Dubuffet aligns himself with the worker as opposed to the professional artist and insists upon art as labor. As yet unpublished, Peinturez hardi underscores materiality as absolutely central to Dubuffet's understanding of what art brut is and how it differentiates itself from arts culturels.
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Luke, Joy Turner, and Mark D. Gottsegen. "A Manual of Painting Materials and Techniques." Leonardo 21, no. 1 (1988): 90. http://dx.doi.org/10.2307/1578424.
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Neubauer, Bettina. "Simplifying the Automation of Manual Painting Processes." IST International Surface Technology 9, no. 1 (March 2016): 11. http://dx.doi.org/10.1007/s35724-016-0006-7.
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Галушко, В. О., Д. Ю. Уваров, and А. C. Уварова. "RESEARCH OF OPTIMAL TECHNOLOGICAL SEQUENCES IN THE ORGANIZATION OF CONSTRUCTION PRODUCTION." Building production, no. 72 (May 22, 2023): 46. http://dx.doi.org/10.36750/2524-2555.72.46-54.
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The article discusses some problems of economics and organization of construction, which can be solved by linear programming using PTC Mathcad Prime, Excel Microsoft365 and data ranking. The authors analyzed the literature, which presents the existing optimization methods in various industries and the field of construction production. Shows the basic principles of using linear programming in various software tools. The authors analyzed in detail the comparison of different methods for the selection of optimal technological sequences. Examples of solving optimization problems in construction production by means of linear programming and data ranking method are presented. To solve the problem, the technology of applying the mixture to a vertical surface was used. Namely: cleaning the facade, plastering the surface, painting the surface. Three technologies were considered. For applying to a vertical surface using standard equipment are scaffolding, ladders and cradles. The process flow consists of the following processes: This is surface preparation. It can be performed in three ways: manual cleaning, sandblasting apparatus, hydrojetting. The next process is the technology of plastering the surface. At this stage, two options are considered: manual plastering and mechanized plaster application. Next, you perform a surface grouping process. This process can be performed either manually or using a pulvelizer. And the last process is painting the surface. Considered manual painting or mechanized device. The next step was to analyze the possibilities of each of the optimization search methods and provide recommendations for their possible application in solving similar problems. Created a mathematical model that can be scaled to implement optimization search in groups of technological sequences with different methods of work. Conclusions were also made regarding the use of the presented methods in solving similar problems of construction production.This article may be an analog for calculating not only the mechanization processes, but it may become a meeting for automating the construction processes.
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Amara, Dinda Dwi, Fauriatun Helmiah, and Santoso Santoso. "Implementasi Sistem Point of Sale Pada Toko Laguna Painting Kisaran." J-Com (Journal of Computer) 2, no. 3 (December 20, 2022): 173–78. http://dx.doi.org/10.33330/j-com.v2i3.1913.
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Abstract: The rapid development of the business world and increasingly fierce business competition encourage companies to always try to improve the quality of products and services to consumers. Today's business world requires a medium to assist in managing the sales process and recording reports quickly to meet the needs of trading businesses. Laguna Painting Paint Shop is a business engaged in the sale of paint in the Kisaran area. Where in their daily life, Laguna Painting Paint Shop sells paint for both inside and outside the city. Currently the Laguna Painting Paint Shop performs transactions manually in its business processes, this can be seen from the sales transaction process which is calculated and recorded in the sales note paper. To improve the sales system at the Laguna Painting Paint Shop, it is necessary to have an application as a fighter, namely a cashier application or commonly called a POS that can simplify the process of sales transactions and preparing reports. With this POS program, it is hoped that transaction activities will be more effective and efficient at the Laguna Painting Paint Shop. Keywords: point of sale; sale; paint shop Abstrak: Perkembangan dunia bisnis yang semakin pesat dan persaingan usaha yang kian ketat mendorong perusahaan untuk selalu berusaha meningkatkan kualitas produk dan pelayanan kepada konsumen. dunia bisnis saat sekarang ini membutuhkan suatu media untuk membantu dalam mengelola proses penjualan dan pencatatan laporan yang cepat untuk memenuhi kebutuhan usaha dagang. Toko Cat Laguna Painting merupakan suatu usaha yang bergerak di bidang penjualan cat di daerah Kisaran. Dimana dalam kesehariannya, Toko Cat Laguna Painting melakukan penjualan cat untuk dalam kota maupun luar kota. Saat ini Toko Cat Laguna Painting melakukan transaksi secara manual di dalam proses bisnisnya, hal tersebut terlihat dari proses transaksi penjualan dihitung dan dicatat dalam kertas nota penjualan. Untuk memperbaiki sistem penjualan pada Toko Cat Laguna Painting maka perlunya suatu aplikasi sebagai penjuang yaitu aplikasi kasir atau biasa disebut dengan POS yang dapat mempermudah dalam proses transaksi penjualan dan penyusunan laporan. Dengan adanya program POS ini, diharapkan kegiatan transaksi menjadi lebih efektif dan efisien pada Toko Cat Laguna Painting. Kata kunci: point of sale; penjualan; toko cat
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Brooks, Boothroyd. "Manual on the Conservation of Paintings." Studies in Conservation 43, no. 3 (1998): 197. http://dx.doi.org/10.2307/1506746.
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Putora, Paul-Martin, Ludwig Plasswilm, and Ludovit Paulis. "Automated contrast painting for position verification in radiotherapy." Journal of Radiation Oncology Informatics 1, no. 1 (September 27, 2017): 23–29. http://dx.doi.org/10.5166/jroi-1-1-3.
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The influence of information technology in medicine has been constantly rising and represents a central part in many medical disciplines, especially radio-oncology. For the proper delivery of radiation treatment, the correct position of the patient is essential. To verify the correct position of the patient radiological images are made. In order to compare positions, contours of structures (often bones) may be used, these need to be identified and painted. The software that was provided with the linear accelerator contains a bitmap paint program, where these structures are painted manually. This manual painting of structures could be replaced by automated algorithms. However, amendments, innovations or customization of the original software are costly and difficult to achieve due to copyright, license and certification issues. The concept described here aims to get around these issues by creating an automated algorithm on the user level, with no interference of the underlying original software. This system uses the Java platform; with the help of the Java Robot class user input can be simulated. The developed tool proved to be time-saving, functional and the development could easily be accomplished and individually tailored to users needs.
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Prapan, Sukantarat, and Maneephrom. "Painting for Aircraft." Proceedings 39, no. 1 (January 9, 2020): 21. http://dx.doi.org/10.3390/proceedings2019039021.
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Objective This research is aimed to reduce time for the aircraft painting processes and decrease the budget for the painting activities which will not affect to the life limit of the painting and will not affect to the aerodynamic of the aircraft. method The research will be conducted by setting up the experiments to study the aircraft surface painting preparation methods, in order to find the better method of aircraft painting study the technical specification of the aircraft coating in associate with the viscosity of painting, air temperature for painting, relative humidity, drying time, lifetime period, hardness and difference, interval of time between painting and mixing solvent quality study the tools that use for painting such as air spray, airless spray, roller and brush study for error checking methods for understanding the painting defects result Reduce the errors that might occur during the aircraft painting processes which will lead to the budget decreasing and time reducing for aircraft painting conclusion To obtain the good quality of painting, it is very important to realize the specification of applied coating, working processes and painting equipment that associate with the maintenance manual of each aircraft, the effect factors that take into account of the painting and the technique of painting that is used.
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McNiff, Shaun. "Ten Paintings." Art Therapy 4, no. 3 (October 1987): 141–42. http://dx.doi.org/10.1080/07421656.1987.10758714.
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Luo, Renquan, Renze Luo, Liang Guo, and Hong Yu. "An Ancient Chinese Painting Restoration Method Based on Improved Generative Adversarial Network." Journal of Physics: Conference Series 2400, no. 1 (December 1, 2022): 012005. http://dx.doi.org/10.1088/1742-6596/2400/1/012005.
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Abstract During the long-term preservation process of ancient Chinese paintings, there are various degrees of damage. Manual repair methods are inefficient, professional, and prone to secondary damage. Aiming at the above problems, a UGAN ancient painting restoration model based on an improved Generative Adversarial Network (GAN) is proposed. The model uses GAN as the overall framework. The generator in the framework adopts a U-shaped network (U-Net), and adds a dilated convolution-gated residual block (DCGR-Block) in the middle, which enhances the model’s ability to extract the shallow and deep feature information of the image. In the experiment, the test results are compared with the current mainstream methods. The comparison results show that when repairing the overall deletion, the peak signal-to-noise ratio (SPNR) and structural similarity (SSIM) of UGAN are improved by 8.14% and 4.79% on average compared with the global and local consistency image inpainting (GLCIC). When the rate is higher, the performance of the network model in this paper is also better than that of similar mainstream algorithms.
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Lima, Denise Noronha. "José Saramago “escrepintor” / José Saramago “escrepintor”." Revista do Centro de Estudos Portugueses 39, no. 62 (January 22, 2020): 15. http://dx.doi.org/10.17851/2359-0076.39.62.15-30.
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Resumo: Manual de pintura e caligrafia, de 1977, é o segundo romance publicado por José Saramago, três décadas após sua estreia na literatura. Considerando o valor transicional e formativo dessa obra, visto que ela antecede imediatamente a fase madura do autor, iniciada com Levantado do Chão, de 1980, este estudo busca examinar a forma como aquele movimento de transição se transfigura na narrativa, pela relação entre a pintura e escrita autobiográfica do protagonista. Procede-se à análise de diversos aspectos do diálogo entre literatura e pintura estabelecido no romance a partir da palavra “escrepintor”, com a qual o narrador-personagem se define. Decorre da discussão desses aspectos a conclusão de que o Manual de pintura e caligrafia simboliza o nascimento de uma nova forma de narrativa de Saramago, cuja consolidação se efetivará na fase seguinte do escritor.Palavras-chave: Saramago; pintura; romance.Abstract: Manual of painting and calligraphy, 1977, is the second novel published by José Saramago, three decades after his debut in the literature. Considering the transitional and formative value of this work, since it immediately precedes the author’s mature phase, which began with Raised from the ground, in 1980, this study aims to examine how that transitional movement is transformed in the narrative by the relationship between painting and autobiographical writing of the protagonist. It proceeds to the analysis of various aspects of the dialogue between literature and painting established in the novel from the word “escrepintor”, with which the character storyteller defines himself. From the discussion of these aspects the conclusion is that the Manual of painting and calligraphy symbolizes the birth of a new form of Saramago’s narrative, whose consolidation will take place in the next phase of the writer.Keywords: Saramago; painting; novel.