Relevant bibliographies by topics / Painting – Technique

Academic literature on the topic 'Painting – Technique'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Painting – Technique"

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Alya, Shopia Himatul. "Lukisan Pemandangan: Teknik Spon Dalam Karya Seni Lukis Jelekong." Aksara: Jurnal Ilmu Pendidikan Nonformal 7, no. 1 (January 2, 2021): 103. http://dx.doi.org/10.37905/aksara.7.1.103-110.2021.

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<p>Nature is a theme that is always present in the development of art in the world, both Western and Asian arts, such as China and Indonesia. The visualization can be a literal or abstract representation. Nature can be an additional element to a painting to convey depth, or perspective. However, the depiction of nature in a painting can also be the main focus of a work of art. In Indonesia itself, there is an Art Village, precisely Jelekong Art Village, where hundreds of people work as painters and some have made nature the main focus of their work. The uniqueness of the Jelekong painter's work lies in the method used and the materials used. So that the authors are interested in further researching the uniqueness of this Jelekong technique. The purpose of this research is to examine the comparison of natural visualization techniques and aspects of Jelekong painting which represent nature in terms of methods and materials. The samples in this study were paintings by Jelekong artists and Western artists. The qualitative descriptive method is considered the most appropriate for analyzing Jelekong painting. The result of this research is that the superiority of the art technique of Ugong painting is the sponge technique created by one of its residents. This technique can create shadow, middle tone, and highlight in a painting. Jelekong's paintings can become the identity of the community in cultivating the local potential of the region</p>
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Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (September 27, 2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.

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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.
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Klisińska-Kopacz, Anna, Piotr Frączek, Michał Obarzanowski, and Janusz Czop. "Non-Invasive Study of Pigment Palette Used by Olga Boznańska Investigated with Analytical Imaging, XRF, and FTIR Spectroscopy." Heritage 6, no. 2 (January 31, 2023): 1429–43. http://dx.doi.org/10.3390/heritage6020078.

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The scientific examination and comparative investigation of pigments are fundamental for further understanding and analysis of historic and artistic works, and particularly useful for conservators. In fine art authentication, investigations are strongly focused on the identification of the painting materials used by the author. This study is focused on the use of non-invasive analytical techniques to increase the knowledge of the painting technique of Olga Boznańska. The aim of this study was to assess the technology, painting technique, and materials used by Olga Boznańska. The pallets, tubes with the paints, and several oil paintings were studied. For each painting, a series of images were recorded using various ranges of electromagnetic radiation, including near-infrared, visible light, ultraviolet, and X-rays. In order to characterize the pigments present in the paint layer, measurements of the elemental composition by X-ray fluorescence spectroscopy (XRF) were carried out. The ground layers and paints were measured with infrared spectroscopy (FTIR). This allowed us to identify the artist’s painting technique and determine how she executed her painting, how she applied the paints, and what pigments she used.
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Qian, Wenhua, Dan Xu, Zheng Guan, Kun Yue, and Yuanyuan Pu. "Simulating Chalk Art Style Painting." International Journal of Pattern Recognition and Artificial Intelligence 31, no. 12 (September 17, 2017): 1759026. http://dx.doi.org/10.1142/s0218001417590261.

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Different kinds of illustrations and artistic imagery can be generated or simulated through the nonphotorealistic rendering (NPR) technique. However, designing and simulating new NPR artistic styles remains extremely challenging. Chalk art style is a very famous artistic work all over the world, and few algorithms have been put forward to illustrate this style. This paper presents a novel NPR technique which generates a chalk art drawing from a 2D photograph automatically. We aim at obtaining a set of lines surface with coarse appearance and generating stroke textures of the real chalk painting. Firstly, the edge of the source image is extracted by difference-of-Gaussian filter method. To simulate chalk painting’s lines, image diffusion and enhancement techniques are proposed to produce coarse and rough lines. Secondly, we developed an improved line integral convolution and dilation operation methods to produce the chalk stroke texture. Finally, the edge image, stroke texture image and color image will be mapped to another background image to generate the chalk art drawing. Experimental results are presented to show the effectiveness of our method in producing the color chalk stylistic illustrations, and the methods can simulate the characters of the real chalk art painting. The proposed method of this paper will enlarge the research and application fields of NPR. Meanwhile, it provides a tool for the user to create chalk art paintings via computers even without painting skill.
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Zhou, Zhensheng. "Image Thinking and Modeling of Chinese Painting." Scientific and Social Research 6, no. 3 (March 30, 2024): 242–47. http://dx.doi.org/10.26689/ssr.v6i3.6435.

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As the essence of Chinese traditional culture, Chinese painting is distinguished from other paintings by its unique art form and expression technique. Among them, image thinking and image modeling are the soul of Chinese painting, which is an important way to express the artist’s unique feelings and thoughts, and also the source of the unique charm of Chinese paintings. Therefore, this paper mainly explores the image thinking and modeling of Chinese painting, and its importance, and analyzes the application of image thinking and modeling in Chinese painting.
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Mazzinghi, Anna, Chiara Ruberto, Lorenzo Giuntini, Pier Andrea Mandò, Francesco Taccetti, and Lisa Castelli. "Mapping with Macro X-ray Fluorescence Scanning of Raffaello’s Portrait of Leo X." Heritage 5, no. 4 (December 6, 2022): 3993–4005. http://dx.doi.org/10.3390/heritage5040205.

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Raffaello is renowned as one of the Old Renaissance Masters and his paintings and painting technique are famous for the details and naturality of the characters. Raffaello is famous in particular for the then-new technique of oil painting, which he mastered and perfected. On the occasion of the 500th anniversary of the death of Raffaello (2020), there was a large exhibition at the Scuderie del Quirinale in Rome, where many paintings and drawings by the Old Master were on show. One of these paintings was the portrait of Leo X with two cardinals belonging to the collection of the Uffizi galleries in Florence. Before going to Rome, the painting underwent conservation treatments at the Opificio delle Pietre Dure, where a comprehensive diagnostic campaign was carried out with the aim of understanding the painting materials and technique of the Old Master. In this paper, the results of macro X-ray fluorescence (MA-XRF) analysis, carried out exploiting the instrument developed by INFN-CHNet, are shown. Among the results, “bismuth black” and the likely use of glass powders in lakes are discussed.
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NI, NI. "A Study on the Measures for the Archival Protection of the Intangible Cultural Heritage - "Chinese Painting Pigment Making Technique"." Pacific International Journal 6, no. 1 (March 31, 2023): 33–36. http://dx.doi.org/10.55014/pij.v6i1.300.

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Chinese painting pigments are essential for creating Chinese paintings and are an integral part of Chinese national culture, as they embody the spirit of Chinese painting. The technique of making Chinese painting pigments was included in the third batch of the National Intangible Cultural Heritage List by the State Council in 2011, emphasizing the significance of Chinese traditional culture. However, as a "living" culture, it is susceptible to change or extinction due to various factors such as inheritance, the social environment, and conservation measures. The art of making Chinese painting pigments is a unique art form that is primarily passed down orally. However, due to the increasing scarcity of raw materials and the decreasing number of artisan heirs, this art form is facing a challenging dilemma. In light of the current situation of Chinese painting pigment making techniques, this paper proposes several feasible solutions for archival protection. One solution is to use the regional characteristics of Chinese painting pigment making for publicity. This strategy would involve promoting the unique aspects of Chinese painting pigment making in various regions to increase awareness and appreciation of the art form. Another solution is to build an archival talent team for Chinese painting pigment technique. This approach would involve identifying and training a group of experts in Chinese painting pigment making to ensure the continued preservation and development of the art form. Finally, building an online resource for Chinese painting pigment making technique would make the information accessible to a wider audience and facilitate the dissemination of knowledge about this art form.
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Huda, Mutiara Azkiyatunnuril, and Taufan Hidayatullah. "Representation of Ophelia's Painting in the Scene of Melancholia Movie 2011." ARTic 5, no. 2 (June 15, 2023): 527–35. http://dx.doi.org/10.34010/artic.v5i2.10901.

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Sir John Everett's Ophelia is a very famous painting. The object of the painting is the death of Ophelia, a character taken from Shakespeare's Hamlet. This painting has inspired many artists and filmmakers to use its visualization as inspiration. Research on the visualization of Ophelia's death has never been done, especially with the use of the tableau vivant technique in the object of research of Lars Von Trier's 2011 film Melancholia. based on this, the purpose of this study is to determine the role of the tableau vivant technique in the field of cinema. Especially its role in the representation of the painting "Ophelia" by Sir John Everett Millais by director Lars Von Trier in the scene of the 2011 film "Melancholia". Trier with his creativity uses the technique with his specialty. It is important to discuss this as a reference in making cinema works by utilizing paintings that were present before. The analysis is done with the main theory of tableau vivant so that its role as a representation technique is visible. The theory of film cinematic elements (mise en scène and cinematography) to support the main theory, describing how the elements in the film represent the painting. Data collection techniques are carried out by means of observation and literature study related to the object of the movie scene that shows the representation of painting, and the painting it represents. The results of the analysis are how the creative use of tableau vivant technique by Lars Von Trier plays a role in representing Ophelia's painting in the scene of the movie Melancholia in 2011 through its cinematic elements. With this research, filmmakers are able to make Trier's creativity using the tableau vivant technique as a reference in making movie scenes inspired by works of art. Keywords: Film; Lars Von Trier; Melancholia; Ophelia; Tableau Vivant
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Pham, Hung Cuong. "The Expression of Vietnamese Folk Art in the Painting Series “Technique du Peuple Annamite”." Russian Journal of Vietnamese Studies 8, no. 1 (April 13, 2024): 94–109. http://dx.doi.org/10.54631/vs.2024.81-629444.

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Vietnamese folk painting art, a traditional art form, is the quintessence of the nation's cultural heritage and historical significance, expressing rustic beauty but containing a Vietnamese culturally conscious mind. In order to preserve the typical beauty in the daily life of ancient Vietnamese people, a genre of folk painting rich in visual art and meaning appeared in the early 20th century. That expression is a set of paintings in an ethnographic research work by Henri Oger, a French scholar. The "Technique du peuple Annamite" series of paintings was produced in large quantities by Vietnamese artisans and reflects the daily life of the Vietnamese people in the capital Hanoi and the Red River Delta. This research was conducted to clarify the elements that create the folk character of the painting from the perspective of visual arts. The results of this study show that the paintings, from themes to forms of expression, all reflect the quintessence of Vietnamese folk art.
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Lizun, Damian, and Jarosław Rogóż. "Observations on Selected Aspects of Liu Kang’s Painting Practice." Journal of Conservation Science 38, no. 5 (October 31, 2022): 460–81. http://dx.doi.org/10.12654/jcs.2022.38.5.09.

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This article gathers, for the first time, some intriguing technical features of Liu Kang’s painting practice, which spans seven decades. These features encompass retouching, alteration as well as the painting over of rejected compositions and painting on the reverse sides of earlier artworks. As Liu Kang (1 91 1–2004) did not discuss the technical details of his artistic process, an exploration of these aspects of the artist’s expression helps us understand the motivation behind his unconventional decisions. The paint layers were characterised through imaging methods like visible light (VIS), ultraviolet fluorescence (UVF), near-infrared (NIR), reflectance transformation imaging (RTI), digital optical microscopy (DOM) and X-ray radiography (XRR). The technical analyses were additionally supplemented with archival sources. The results showed that some aspects of the artist’s painting practice may distort the provenance of the paintings, impact dating, visual interpretation of his painting technique and style, as well as future conservation and display decisions. The presented case studies discuss the influence of Liu Kang’s unconventional painting approaches on the perception and interpretation of his artworks. Additionally, some hidden alterations and entirely new compositions were revealed for the first time and presented here, adding to growing knowledge about the artist’s painting technique. Moreover, universal aesthetical and ethical considerations were discussed in the context of the conservation and display approach to the artist’s retouching work and double-sided paintings. Besides, this research promotes a need for obtaining a comprehensive understanding of Liu Kang’s painting practice and coherent guidelines to ensure proper presentation of his artworks and to prevent misinterpretation of his technique and artistic outcomes.
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Dissertations / Theses on the topic "Painting – Technique"

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Branham, Barbara Leedy. "Some visual issues of painting : an exploration of the painting process." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3856.

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Christian, Amy J. "Human distillations : the visual and conceptual development of a body of work." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724961.

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The creative project was the end result of a year of focused exploration and development in the areas of painting and drawing. The artist created a group of five oil paintings and four mixed media drawings which culminated her year of work. The pieces were exhibited on Ball State University campus as well as being documented and evaluated in a thesis paper.A strong belief in the importance of the ability to pursue an idea or concept to its furthest point led the artist to set the goals of the project. While working on the project, the artist honed her technical skills, and strengthened her personal aesthetic by her discovery and research of painters who based their work in similar beliefs.The accomplishment of the goals she had set forth was the first step on the artist's journey to becoming a professional, exhibiting artist.
Department of Art
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De, Bliquy Leon Paul. "Tempera painting: an investigation of the aesthetic and technical advantages of the medium." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009443.

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From Introduction: The balance between practical and theoretic components in the total submission bears relation to the title of this essay where aesthetic advantages are largely theoretical and where technical advantages refer mainly to the practical component. The historical significance of this structure is to be found in the earliest treatises on painting, Cenninni's treatment of painting as a purely practical matter is in accord with medieval tradition. His recipes are aligned according to the various individual techniques, tempera painting being the most significant to this essay. Practical recipes are interspersed with directions for the representation of various pictorial themes, and in the resultant conglomeration, the subdivisions are discernible only as basic premises. In contrast to him, the Renaissance authors beginning with Alberti make a significant innovation in that they divide their material into a theoretical and a practical part . The inter-relationship of practical and theoretical - aesthetic and technical aspects are un-avoidable when it comes down to realities. This is clearly illustrated in the notes of Leonardo da Vinci. Plans for the organization of the treatise are vaguely formulated .
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Piovesan, Rebecca. "Archaometrical investigations on mortars and paintings at Pompeii and experiments for the determination of the painting technique." Doctoral thesis, Università degli studi di Padova, 2008. http://hdl.handle.net/11577/3426140.

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Archaeometrical investigations were performed on 127 samples collected from the Temple of Venus at Pompeii, by means of OM, SEM, ESEM, XRD, micro-ATR, FT-IR, Mössbauer spectroscopy, EMPA and image analysis. The materials analysed were composed of mortars (from walls, floors and hydraulic structures) and paintings. The main aim of the research was to characterise these materials to determine the preparation recipes, the technological knowledge and the provenance of the raw materials. To this aim the aggregates identified in the mortars were petrographically compared with eighteen samples of sand from the Neapolitan coastline and from borehole cores performed in the area that lies in front of the Temple of Venus. A correlation between functionality and age of the structures and recipes of samples was also carried out. Experiments were also performed in order to recognise an objective method for the recognition of the fresco and the mezzofresco painting techniques. Results from experiments were tested against samples of paintings from the Chiaravalle Abbey (XIV century) for which the use of fresco, dry finishing and mezzofresco is well documented, and then compared with the paintings of the Temple of Venus.
Numerosi campioni di malta e finiture pittoriche (127) provenienti da ambienti funzionalmente e cronologicamente differenti sono stati prelevati dal sito archeologico del Tempio di Venere a Pompei e sottoposti ad indagini OM, SEM, ESEM, XRD, micro-ATR, FT-IR, spettroscopia Mössbauer, EMPA e analisi di immagine. Lo scopo principale dello studio è stato quello di caratterizzate tali materiali per ricavare informazioni riguardanti le ricette di preparazione, le conoscenze tecnologiche e la provenienza delle materie prime. A tale scopo, l’aggregato identificato nelle malte analizzate è stato confrontato da un punto di vista petrografico con diciotto campioni di sabbia provenienti dalla costa napoletana e da sondaggi eseguiti nell’area prospiciente il tempio di Venere. Le ricette riconosciute sono state inoltre correlate con la funzionalità e l’età delle strutture architettoniche di provenienza. Allo scopo di determinare una procedura analitica efficace per il riconoscimento delle tecniche pittoriche ad affresco e mezzofresco è stato inoltre svolto uno studio su campioni appositamente prodotti. I risultati di tale sperimentazione sono stati testati su cinque campioni provenienti dalla abbazia di Chiaravalle (Milano) per i quali dati storico-artistici confermano l’esecuzione secondo tecnica pittorica ad affresco, secco e mezzofresco. I criteri e la metodologia così ricavati sono stati applicati ai campioni di finiture pittoriche murarie provenienti dal tempio di Venere.
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Sollman, Carolyn F. "Acrylic polymer : a nontraditional approach." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/504813.

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The purpose of this creative project was to explore various ways of using acrylic paint other than the traditional methods of direct application to canvas or paper and produce a suite of fifteen mixed media drawings using methods developed during the creative project. With the drawings produced during the creative project the writer discovered a new approach in using acrylic polymers. Subtle relationships of color, texture, value, and spacial illusion were achieved through the use of this method. The technique involved making a thin sheet of nonsoluable, flexible acrylic, cutting it, manipulating it, and applying it to a sheet of paper. Through the creative project the writer explored riew concepts in composition and personal imagery. Work completed during the project yielded over one hundred drawings. Works from the project have been exhibited regionally and nationally. Two pieces were included in Indiana Artists Exhibition in 1983 and two others were purchased by the Evansville Museum for their permanent collection.
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Chak, Chung-Ho. "A visual study of Indiana's landscape." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/461933.

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The purpose of this Creative Project was to create and analyze the student's art work,which was finished within the academic year 1985-86, at Ball State University. Due to the difference in geographical features between Indiana and Hong Kong (where the student originally came from), the attitude and approach of the student towards painting was affected. This paper traced and identified how and where his works of art changed.The whole analysis was based on three major pieces. They were Frankton I, A Cold Summer, Frankton II and LandscaDe VI (which was a landscape of Muncie). These three works were oil paintings. The student also used some of the preparatory watercolor sketches that he made to help describe the different developing stages of his art. During the analysis, technical aspects of handling oil paint were discussed too.
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Peters, Eddie. "Painter's Wilderness." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4533.

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Painter's Wilderness is a transition between painting strictly from imagination to painting with the use of drawings and sketches to interpret and authenticate an observation. The transition became an exploration of value patterns, compositional shapes and color correspondence in building a technically successful painting while allowing the piece to have its own life.
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Hoyt, Sue Allen. "Masters, pupils and multiple images in Greek red-figure vase painting." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150472109.

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Kouloumpi, Eleni. "Western-European influences on the post Byzantine icon painting technique of Crete and the islands of Ionion." Thesis, De Montfort University, 2007. http://hdl.handle.net/2086/4347.

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The post-Byzantine Art was not only one of the most important artistic movements of Greece, but it was also a period in which serious and decisive changes took place. The most important change was the change of the materials and techniques; from egg yolk to drying oil and from panel paintings on wood to easel paintings on canvas. A series of a hundred and twenty one panel paintings, representative samples of this period (late 15th century up to the early 19th century) and from the work of the most important artists, who represent this period but who also contributed to the evolution of the later pictorial art were studied in the current research. Trying to find evidence of time and location for changes in practice between Constantinople, Greece and Venice, two hundred and one samples were collected from Crete, Athens Thessaloniki, Cephalonia, Zakynthos and Patmos. The aim was to provide timellocation data slices concerning the creation of the artwork~nd to identify the materials present in order to be able to detect any possible changes to the technique. The research proved to be quite a complicated task, not only due to the nature of the materials studied, but also due to the limited samples and sample quantity available. A multi-method approach was employed in order to characterise the artists' materials. The analytical means with which the investigation was carried out were: Energy Dispersive X-ray Analysis, .Fourier Transform Infrared Microscopy and Gas Chromatography. Additionally,· other.two techniques were used to offer complementary information wherever necessary: Raman microscopy and staining of cross-sections. Pure binding media, as well as emulsions were detected, while the nature of the selected pigments was identified. The artistic changes that took place in the postByzantine of painting did record on the techniques available. It is obvious that while in the Byzantine art the main binder is egg yolk, immediately after the formation of the post-Byzantine School egg/oil emulsion and drying oil are introduced. In the 16th century there seems to be a rise in the use of drying oils, either in the form of an additive layer over a proteinaceous one or in the form of a single layer binder. The 17th century establishes the use of emulsions, until the 18th century where the. use of drying oils prevails. This unexpected sequence of changes was repeated through all the schools studied, it seems reproducible through each series of samples and is not being influenced by other considerations. The results of this research led to one main conclusion: Western Europe did affect the icon painters. It gave them the examples and the materials for them to free themselves and move on to more contemporary styles. Only a fraction of the data obtained has 'been published. The results of this study may have thrown some light onto this dark transitional period of the Hellenic art, but as research never ends, new questions have been born, for scientists to answer.
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Xu, Jialin. "Techniques of red-figure vase-painting in late sixth- and early fifth-century Athens." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670015.

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Books on the topic "Painting – Technique"

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Sumahendra. Miniature painting technique. Jaipur, India: Rooprang Publications, 1990.

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Thomas, Isabel. Painting. Chicago, Ill: Heinemann Library, 2011.

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Robins, Deri. Painting. Minnetonka, MN: Two-Can, 2006.

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Losos, Ludvík. Painting techniques. London: Octopus, 1987.

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Henry, Sally. Painting. New York: PowerKids Press, 2009.

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Mark, Churchill, ed. Painting masterpieces. New York: Sterling Pub., 1998.

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Quiller, Stephen. Acrylic painting techniques. New York: Watson-Guptill, 1994.

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author, Vowles Diana, ed. Painting made easy. London: Arcturus, 2014.

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Gullick, Thomas John. Painting explained. Chester, NY: Anza Pub., 2005.

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Ruth, Thomson. Painting. Chicago: Childrens Press, 1994.

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Book chapters on the topic "Painting – Technique"

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Hidaka, Midori, and Junichi Miyata. "Study on Painting Technique of Mediaeval Mural Painting: Case Study in Sopocani Monastery, Serbia." In 10th International Symposium on the Conservation of Monuments in the Mediterranean Basin, 467–75. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78093-1_50.

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Hughes, Shea, Oleksandr Dashkin, and Richard Anthony DeFazio. "Vessel Painting Technique for Visualizing the Cerebral Vascular Architecture of the Mouse." In Methods in Molecular Biology, 127–38. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-0320-7_12.

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Marcaida, José Ramón. "Ingenio and Artimaña. Technique and the Art of Painting in Early Modern Spain." In The Making of Technique in the Arts, 71–97. Turnhout, Belgium: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.techne-eb.5.132943.

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Gotcheva, Nadezhda. "Sfumato as a Metaphor for Creating a Common Understanding in Complex Projects." In SpringerBriefs in Applied Sciences and Technology, 87–96. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-35163-1_9.

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AbstractSfumato painting technique is proposed as an artistic metaphor for creating a shared understanding about safety and risk in complex safety-critical multi-stakeholder projects. The aim is to illuminate a mindset and suggest approaches for softening potentially detrimental effect of sharp dysfunctional boundaries between and within different project parties, which might impair quality of communication, coordination, and collaboration and impact safety.
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Tummers, Anna, and Robert G. Erdmann. "The Eye Versus Chemistry? From Twentieth to Twenty-First Century Connoisseurship." In Analytical Chemistry for the Study of Paintings and the Detection of Forgeries, 3–45. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-86865-9_1.

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AbstractThis essay traces the evolution of connoisseurship in the Netherlands from the early twentieth century to current and future challenges. In the twentieth century, the attitude of art historians towards chemistry varied from extreme distrust to extreme optimism about the possibilities of the discipline to provide conclusive evidence in authentication matters. While the chemical methods and technical means to research paintings have developed at an unprecedented pace in the twenty-first century, some of the key questions crucial to classifying works of art remain largely the same (e.g. how much consistency to expect in an artist’s brushwork, painting technique and choice of materials?). However, other questions are new (e.g. how to interpret vast amounts of new data?) and call for a fundamentally different approach: for a cross-pollination of (technical) art history, chemistry and data science. While surveying recent developments, this essay discusses the merits and drawbacks of several modern analytical techniques (including as MA-XRF, HIS/RIS, isotope analysis and GC-MS) as well as the potential of digital aids (smart tools). The focal point of this essay is on the Netherlands since advances in the scientific investigation of works of art have repeatedly transformed the practice of connoisseurship here.
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McClung, Mary C. "Painting." In Mask Making Techniques, 67–74. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003343264-10.

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Du, Yihang, Yan Pei, Lijun Wang, Chenzong Bai, and Ke Niu. "Virtual Display and Interaction System Design of Bingxi Scroll Painting Based on Augmented Reality Technique." In Lecture Notes in Electrical Engineering, 273–83. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-8430-2_25.

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Krämer, Thomas. "Aspects of Lovis Corinth’s Painting Technique in His Late Work: Working Process and Colour Structure Captured in Paint and on Film." In Conservation of Modern Oil Paintings, 219–27. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_16.

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Shimadzu, Yoshiko. "Painting Materials and Techniques of the Ajanta Wall Paintings." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 137–56. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_8.

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Antunes, Vanessa, António Candeias, Maria J. Oliveira, Maria L. Carvalho, Cristina Barrocas Dias, Ana Manhita, Maria J. Francisco, Sónia Costa, Alexandra Lauw, and Marta Manso. "Uncover the mantle: rediscovering Gregório Lopes palette and technique with a study on the painting “Mater Misericordiae”." In inArt 2016, 161–74. Berlin, Heidelberg: Springer Berlin Heidelberg, 2017. http://dx.doi.org/10.1007/978-3-662-55417-3_18.

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Conference papers on the topic "Painting – Technique"

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Zorić, Vojkan, and Vesna Petrović. "DETERMINATION OF FORGERY PAINTINGS IN THE WATERCOLOR TECHNIQUE - CASE STUDY." In SECURITY HORIZONS. Faculty of Security- Skopje, 2022. http://dx.doi.org/10.20544/icp.3.7.22.p03.

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Taking into account the previously published material on the work with dubious paintings made with oil on canvas technique, the paper presents a way to determine the originality of an artistic painting made with the watercolor technique. Determining the authenticity of a work of art is a very complex process, especially with the watercolor technique, due to the small amount of paint, as well as the non-existence of the canvas in the base. In the absence of a certificate of authenticity or description in museum inventory or catalogs, art historians cannot determine the originality of a suspicious work of art without conducting a forensic analysis. For this purpose, forensic scientists and forensic experts use the following laboratory methods: X-rays that detect the presence of a sketch or image below the surface), spectroscopic analysis of materials by infrared rays (FT-IR, highlights changes in asymmetric vibrations of material molecules), stereomicroscopic analysis of painted surfaces luminescent source and/or polarizing additive), physical analysis of color layers by a directed beam of light directly or through different filters, analysis using ultraviolet (UV) rays, as well as analysis by Raman spectroscopy (IR spectroscopy that highlights vibrations that are symmetrical to the center of symmetry of molecules). The paper presents a real case study of the forgery of the artistic painting of the English sculptor Henry Moore, made using watercolor and graffiti techniques, from 1937. Keywords: Art painting, Forensics, Laboratory analysis, forgery, aquarelle technique
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Rode, Lisa, Blaz Šeme, and Janja Slabe. "ASSESSMENT OF CHROMATIC REINTEGRATION TECHNIQUES AND MATERIALS WITH SIMULATIONS ON MOCK-UPS: THE EXAMPLE OF A POLYCHROME GLAZED CERAMIC PITCHER FROM THE COLLECTION OF THE NATIONAL MUSEUM OF SLOVENIA." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13538.

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The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraphy of the paint layer and the in-glaze method of decorating the pitcher: a white underglaze over which a polychrome painting with overglaze was applied. The practical goal was to get close to the original painting's color, structure, and texture with differing application modes in lines, dots, liquid strokes, and surface smoothing. The chromatic reintegration tests of a glaze painting were perceived with varied and comminated approaches to applying retouching paint media to gypsum mock-ups. This can be achieved by meticulous scrutiny to review and evaluation a medium in the appropriate solvent. The mock-up assessments showed that the most suitable for the glazed pitcher is chromatic reintegration with dotted hatched, using the retouching colors with urea-aldehyde resin Laropal® A 81. The researched methods and the technique of chromatic reintegration on a ceramic pitcher were presented in the exhibition In Good Hands: 60 Years of the Department of Conservation and Restoration of the National Museum of Slovenia
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Cacciari, I., D. Ciofini, and S. Siano. "Deconvolution technique for THZ characterization of painting layers." In 19th Italian National Conference on Photonic Technologies (Fotonica 2017). Institution of Engineering and Technology, 2017. http://dx.doi.org/10.1049/cp.2017.0207.

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de Manicor, Nicole, Giacomo Marchioro, Vittorio Barra, Ornella Salvadori, and Claudia Daffara. "Optical characterization of artist’s materials in ancient paintings by spectral imaging in the VIS-IR range." In OCM 2017 - 3rd International Conference on Optical Characterization of Materials. KIT Scientific Publishing, 2017. http://dx.doi.org/10.58895/ksp/1000063696-14.

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In the last few years, the non-invasive infrared reflectography (IRR) imaging technique has been improved by means of the multispectral option both in the VIS and in the NIR range in order to achieve more reliable and accurate results. Hence, the collected data can be visualised and studied both in the spatial and in the spectral domain, being processed as reflectographic images or as punctual reflectance spectra of the materials composing the painting. This work presents the formulation and application of an easyto- use methodology to identify and map the original artist’s pigments in ancient paintings starting by a set of spectral data acquired with multispectral imaging technique in the VIS-NIR range. The preliminary results shown are obtained on a painting by Vittore Carpaccio, belonging to the collection of Gallerie dell’Accademia in Venice, Italy.
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Bologna, Daniel, Vincenzo Micciché, Giovanni Violo, Alessandro Visconti, Alberto Cannavò, and Fabrizio Lamberti. "SPHinX Authentication Technique: Secure Painting autHentication in eXtended reality." In 2023 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2023. http://dx.doi.org/10.1109/vrw58643.2023.00313.

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Jin, Xin. "Crossing Landscape and Architecture: Embodiment of A-Perspectival Space in Wang Shu’s Oblique Drawings." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5027psugw.

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Over the past two decades, Pritzker Architecture Prize laureate Wang Shu has experimented with renewing vernacular architectural vocabularies by reinterpreting traditional Chinese landscape paintings and gardens. However, the role of Wang’s design drawings in his architectural undertakings remains largely underexplored. By analysing Wang’s handmade design drawings, this paper examines how the architect bridges the gap between traditional landscape painting, which is often considered to be the epitome of Chinese modes of spatial perception, and the modern oblique projection method, which is a technique that is based on the Cartesian coordinate system. First, through a literature review, this paper frames a salient aspect of Wang’s appreciation of the traditional Chinese landscape painting, namely the genre’s a-perspectival treatment of pictorial space. For Wang, the landscape painting embodies a culture-bound mode of “seeing,” which resorts to neither the illusionary perspective nor Cartesian metric space. Second, through case studies, this paper analyses the key aspects of Wang’s landscape painting-informed a-perspectival oblique drawings and his drawings’ critical implications. In his design for the Tengtou Pavilion (Shanghai, 2009-10), Wang creates nonrepresentational, immeasurable spaces with inconsistent projection fragments to evoke intended phenomenally boundless depth and transforms the technique into a collage device to prompt an architecture-landscape parallelism. In his sketch for the Lingyin Temple teahouse complex (Hangzhou, 2008-20), Wang doubles the modes of oblique drawing to attune the landscape painting and architectural projection and transform nature into built forms. By drawing on Wang’s case, this paper offers insights into how the standardised oblique drawing method can afford culturally grounded a-perspectival uses and how such critical adaptations could assist the architect to move across the ontological border between architecture and landscape.
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Alaei, Alireza, Umapada Pal, P. Nagabhushan, and Fumitaka Kimura. "A Painting Based Technique for Skew Estimation of Scanned Documents." In 2011 International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2011. http://dx.doi.org/10.1109/icdar.2011.68.

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Shuang Tang, Jia Chen, Xiaoxi Chen, and Mingyan Bi. "Double buffer technique improving painting effect of Port Information System." In 2010 2nd International Conference on Industrial and Information Systems (IIS 2010). IEEE, 2010. http://dx.doi.org/10.1109/indusis.2010.5565890.

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Dangre, Neha, and Prakash Mohod. "Survey on image portion mixing with background via in-painting technique." In 2015 International Conference on Innovations in Information,Embedded and Communication Systems (ICIIECS). IEEE, 2015. http://dx.doi.org/10.1109/iciiecs.2015.7193029.

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Цветкова, Н. Н. "MODERN TRENDS IN THE ART OF FABRIC PAINTING (EXPERIENCE OF RUSSIAN AND INTERNATIONAL EXHIBITIONS)." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.12.

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Техника росписи ткани является одной из древнейших. В настоящее время наблюдается возрождение интереса к различным способам декорирования текстиля; в рамках российских и международных выставок экспонируются произведения, выполненные методом свободной росписи, батика, узелкового крашения. Различные техники росписи ткани применяются для создания плоских текстильных произведений, объемно- пространственных арт-объектов, инсталляций и таких форм современного искусства, как хеппенинг и перформанс. The technique of fabric painting is one of the oldest. Currently, there is a revival of interest in various methods of textile decoration; interesting works made by the method of free painting, batik, shibory are exhibited at leading Russian and international exhibitions. Various techniques of fabric painting are used to create flat textile works, three- dimensional art objects, installations and such forms of modern art as happening and performance.
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Reports on the topic "Painting – Technique"

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Poloboc, Alina. Fancy Pink Goat. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2998.

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"Fancy Pink Goat" is a contemporary art piece from the Fancy Collection, created in Spain in 2022. It is a vividly colorful painting dominated by pink and blue, which are the signature colors of the artist`s style. The painting features a fancy goat walking through the jungle with its elegant collar and abstract, long legs. Surrounding the Fancy Pink Goat are a variety of other unusual creatures inhabiting the jungle and keeping the goat company. The artist`s signature red high-heeled shoes are also present, adding a touch of sophistication and style to the painting. This artwork is an impressive example of the artist`s unique style, which blends elements of surrealism and abstraction to create a sense of fantasy and wonder. The overall effect is an intriguing and vibrant work of art that captures the viewer`s imagination. With its expert technique and distinctive style, "Fancy Pink Goat" is truly a gem in the Fancy Collection.
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Seamans, Thomas, and Allen Gosser. Bird dispersal techniques. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, August 2016. http://dx.doi.org/10.32747/2016.7207730.ws.

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Conflicts between humans and birds likely have existed since agricultural practices began. Paintings from ancient Greek, Egyptian, and Roman civilizations depict birds attacking crops. In Great Britain, recording of efforts at reducing bird damage began in the 1400s, with books on bird control written in the 1600s. Even so, the problem persists. Avian damage to crops remains an issue today, but we also are concerned with damage to homes, businesses, and aircraft, and the possibility of disease transmission from birds to humans or livestock. Bird dispersal techniques are a vital part of safely and efficiently reducing bird conflicts with humans. The bird must perceive a technique as a threat if it is to be effective. No single technique can solve all bird conflicts, but an integrated use of multiple techniques, each enhancing the other, generally provides relief.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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