Academic literature on the topic 'Photo illustrations and portraits'
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Journal articles on the topic "Photo illustrations and portraits"
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Syuderajat, Fajar. "Ideologi Surat Kabar dalam Pemberitaan Terorisme." Communicatus: Jurnal Ilmu komunikasi 1, no. 1 (February 25, 2017): 1–12. http://dx.doi.org/10.15575/cjik.v1i1.1206.
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This paper this study was to determine the ideology of Newspaper Coverage Off Execution Amrozy Cs. on Newspaper Kompas and Republika. The method used in this research is the analysis method semiotics model of Ferdinand de Saussure with a qualitative approach. The results showed that: (a) Option speech text, as well as the news angle images of photographs or illustrations that reproduce the graph becomes a news event is strongly influenced by the ideology of the media is concerned. (B) Compass showing partiality to the international agenda by using the term "terrorists" in its message. This is also strengthened by the news in the form of photo illustrations which only includes figures or portraits of security officers. (C) Republika has a distinctive news angle in reporting the death penalty convicted Bali Bombing Case. They appear at the peculiarities of the text selection, angle coverage, as well as news illustrations are photographs which contains many figures or portraits Amrozi.
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Maurer, Andrey Markovich. "Composite photographic portrait as a tool for visualizing local anthropological variants (using the example of Bashkir men photographic materials)." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (September 14, 2021): 5–16. http://dx.doi.org/10.32521/2074-8132.2021.3.005-016.
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Based on individual images of Bashkir men from literary sources (early 20th century) and on the basis of our own photographs of the end of the 20th century, composite photographic portraits (full-face, in profile) were compiled using the "FaceOnFace" computer program. Based on the high similarity of composite photographic portraits, two samples (from the beginning and the end of the 20th century) of initial photographs of Bashkir men were combined into a single corpus (N = 85). Individual photographs corresponding to the descriptions of the South Siberian (N = 40) and Ural (N = 20) minor races were selected from the combined sample of photographs of Bashkir men of the 20th century. Results and discussion. Based on these two subsamples, using digital technologies, 2 pairs of high-precision male composite photographic portraits (full-face and in profile) of Bashkir men were created. They represent the two racial variants prevailing in the region. One pair of photo-generalizations characterizes the softened South Siberian (N = 40), and the other, the sub-Ural (N = 20) anthropological variants. All profile composite photographic portraits of the Bashkirs were obtained for the first time. The phantom image obtained by the method is mentally compared with a certain generalized idea of a particular anthropological version of the known racial classifications. Due to the authorial nature of the various racial classifications, the subjective choice of the «typical», «most characteristic» person (or a short series of faces), presented as an illustration, is also inevitable. Conclusion. The resulting photographic portraits are no less recognizable than the illustrations given in anthropology textbooks: two clearly distinguishable anthropologically variants are visualized that occur in Bashkir populations. This result confirms the deeply entrenched opinion of anthropologists about the heterogeneity and population polytypes of the Bashkir ethno-national community. Both population-typological composite photographic portraits of an ethnic group and a typological digital high precision quality composite portrait, which achieves the effect of "personalization" of a phantom image, are cognitive tools that allow one to assess the biological reality of the existence of human populations with biologically meaningful (adequate) visual means. It is necessary to seek visual means that are isomorphic to the nature of a living, lasting composite.
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Kim, Hoongi. "Visual Metaphor Applied to the ‘Portrait’ of SARS-CoV-2: Focusing on Illustrations and Electron Microscope Photos." Korean Society of Culture and Convergence 44, no. 6 (June 30, 2022): 753–74. http://dx.doi.org/10.33645/cnc.2022.6.44.6.753.
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The purpose of this paper is to compare and examine the metaphorical expressions in the visual materials of SARS-CoV-2. The subjects of this study are two illustrations by the US CDC and a researcher David S. Goodsell, and two electronic microscope photos by the US NIAID and Austrian company Nanographics. The metaphorical expressions and meanings were examined in terms of ‘superimposition (transformation, deletion, addition)’ and ‘replacement.’ The first illustration applied superimposition method such as transformation into a full sphere, omission of the number of M proteins, addition of red color to the S protein, and used replacement method treating the background as a black space. The second illustration used superimposition method such as simplifying the end of the S protein, adding various colors, and replacement method describing the background as a space filled with fancy colors. The first photo of the electron microscope applied superimposition and replacement methods by treating various colors on the scenes of viruses and surrounding components. In comparison, the second photo added only minimal colors to show the most realistic appearance, but the background of the black space left the impression of the virus as a fearful object. Identifying the metaphorical devices can contribute to the improvement of visual literacy by critical thinking ability about SARS-CoV-2.
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Strauss, Johann. "The Great War of the Postcards." Archiv orientální 88, no. 3 (March 15, 2021): 525–68. http://dx.doi.org/10.47979/aror.j.88.3.525-568.
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This article examines the functions and the significance of picture postcards during World War I, with particular reference to the war in the Ottoman Lands and the Balkans, or involving the Turkish Army in Galicia. After the principal types of Kriegspostkarten – sentimental, humorous, propaganda, and artistic postcards (Künstlerpostkarten) – have been presented, the different theatres of war (Balkans, Galicia, Middle East) and their characteristic features as they are reflected on postcards are dealt with. The piece also includes aspects such as the influence of Orientalism, the problem of fake views, and the significance and the impact of photographic postcards, portraits, and photo cards. The role of postcards in book illustrations is demonstrated using a typical example (F. C. Endres, Die Türkei (1916)). The specific features of a collection of postcards left by a German soldier who served in Turkey, Syria, and Iraq during World War I will be presented at the end of this article.
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Schwab, Wendell. "Visual Culture and Islam in Kazakhstan: The Case of Asyl Arna’s Social Media." Central Asian Affairs 3, no. 4 (October 3, 2016): 301–29. http://dx.doi.org/10.1163/22142290-00304001.
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Asyl Arna is the most popular Islamic television channel in Kazakhstan and the dominant Islamic media company in Kazakhstan. This article examines how images on the social media pages of Asyl Arna create a way of understanding and engaging in contemporary Islamic life in Kazakhstan. I examine four kinds of images: lists, portraits of authority figures, illustrations or photos of the Qur’an, and images related to a middle-class life with a strongly gendered division of labor. The visual culture of Asyl Arna’s social media promote Islam as an achievable part of a middle-class lifestyle that can provide simple rules for a pious, economically successful life and a connection to the numinous through the Qur’an.
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Kalisz, Katarzyna. "Spuścizna audiowizualna Jerzego Ficowskiego w zasobie Narodowego Archiwum Cyfrowego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 12, 2017): 263–69. http://dx.doi.org/10.24917/20811853.16.20.
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Audio-visual legacy of Jerzy Ficowski found in the National Digital Archives The National Digital Archives stores the audio-visual contents of Jerzy Ficowski’s legacy – photos, audio recordings, and films. The most numerous type of data found there are photographs. Many of the photos are representative of Ficowski’s research interests. There are Gypsy photos (especially those taken by him while traveling in Gypsy caravans), Judaica, photos regarding Witold Wojtkiewicz and Bruno Schultz (particularly those taken by Jerzy Ficowski during his stay at Drohobych), photos taken by Ficowski as illustrations for „Karty z raptularza”, portraits and photos of Jerzy Ficowski himself and of his family. As far as audio recordings are considered, there are private records, monologues, radio interviews, Judaica, and recordings of poetry readings. Another important preserved form of Ficowski’s legacy are films of his family, recorded between 1930 and 1936, records of performances, klezmer concerts, poetry readings, video relation of the ceremony of awarding him with the “Man of Borderland” title, and drafts for film of Paweł Woldan “Amulety i definicje” (1998).Key words: audio-visual legacy; legacy; photography; film; audio recordings; Cyganiana; Karty z raptularza; Amulety i definicje;
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Gunalan, Sasih. "Tinjauan Cover Buku Biografi I Wayan Pengsong." Jurnal SASAK : Desain Visual dan Komunikasi 1, no. 2 (November 29, 2019): 65–71. http://dx.doi.org/10.30812/sasak.v1i2.553.
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The development of the world of art and design is one of the major contributors to the emergence of the dynamics of the existing arts. The existence of the development of artistic discourse is not infrequently archived in the form of a book. Biography book is one type of book that contains a record of stories or information about a person's life journey that is arranged systematically. The book as a unit is composed of several constituent elements, one of which is the cover or cover. The unit that compiles the design of a book cover, ideally consists of several elements. Some of them are illustrations, in the form of pictures or photographs and writing (typography). The theory used in this research is Edmund Burke Feldman's fist theory of art. This theory, provides the study of art in several aspects. Such as formalistic, instrumental and expressive aspects. Specifically, this study will discuss all elements of form in a formalistic review. Selection of focus on the formalistic aspect refers to the linkage of formalistic elements with design studies. Another context, in Feldman's study, it refers more to the elements of sociology of art and the things that surround it. The conclusion of this study, is that the cover design of Wayan Pengsong's book has various complex perspectives and is interconnected between the design and the design and style of Pengsong's work that he produces. The use of color and photo illustrations used refers to the philosophical melancholy, calm and the almighty. This color is also one of the many colors used by Pengsong in his paintings. The use of Wayan Pengsong and Wayan Gede's portrait illustrations is a symbol of a unity between Wayan Pengsong and his artistic blood heritage.
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Astakhova, E. V. "On Tatiana Pigariova’s Book <i>Spain from S to N</i>: a Look through the Personal I and Culturological Curiosities." Concept: philosophy, religion, culture 7, no. 1 (March 22, 2023): 167–69. http://dx.doi.org/10.24833/2541-8831-2023-1-25-167-169.
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The newly published book by a well-known expert in Hispanic studies Tatiana I. Pigariova presents a truly personal look on Spain. Its nine chapters, or acts, invite readers to join the author and set off on a fascinating journey across Spain from S to N. The very cover of the book suggests a notion of the adventure the readers are about to treat themselves to. As an art critic T. Pigariova reads deeply into fine art, poetry and historical events and comes up with advanced and original symbolic interpretations. She turns to the art of metaphor elaborated by the masters of Spanish Baroque yet does so with great care: at one time a metaphor highlighting scattered pieces helps outline the entire puzzle, but at times its light can be misleading. One of the most elysian lines and pages of the book are devoted to Diego Velázquez. For instance, the author reflects on what is hidden in his paintings and why his works are at the heart of the Museo Nacional del Prado. This exquisite and gripping reading carries the audience through a gallery of portraits and mysteries. Tatiana Pigariova skillfully navigates archives and museums, leading excited readers to their treasures — artifacts, documents, and photos. Illustrations make the story feel real and so does the dialogue of the author and her readers. As we turn the pages and find ourselves on the streets of nowadays Moscow and Madrid, together with the author we fall in love with Spain, its unique culture and art.
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Kiseleva, N. A. "Deltiological Collection of Pskov Professor Yury Mukhin." Observatory of Culture 15, no. 3 (August 19, 2018): 321–29. http://dx.doi.org/10.25281/2072-3156-2018-15-3-321-329.
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Every year the Pskov State University hosts the International scientifi c and practical conference “Mukhin readings”, which received its name in honor of the Doctor of psychological Sciences, Honorary Professor of the Department of pedagogics and psychology Yury Mikhailovich Mukhin. He would have turned 95 on July 24, 2018. He devoted many years of his life to the search and systematization of art postcards with the images of masterpieces of world art, which he used in scientifi c and pedagogical activities. The famous collection of Y.M. Mukhin includes more than 12 500 postcards; 10 994 of them were donated by the widow of the scientist to the Pskov regional universal scientifi c library (PRUSB), where they are now kept in the Department of literature on culture and art, as well as in the Regional Center for work with rare and valuable documents of PRUSB. The article describes the content and value of this collection, the main part of which is devoted to paintings, but there are series of postcards with graphics, engravings, sculpture, jewelry, arts and crafts, book illustrations and miniatures, photos, etc. The cards represent a wide variety of pictorial genres: portraits, landscapes, still life, as well as historical, military, religious, domestic genre scenes. You can see here the paintings by famous Russian and foreign artists, as well as works of little-known and unknown authors. The presented reproductions demonstrate the values that the world’s largest galleries and museums have, covering historical periods from ancient times to the end of the 20th century, and acquaint with the paintings, on which many generations were brought up. Truly, the collection of Y.M. Mukhin is the pride of the people of Pskov and is the unique encyclopedia of art, the art world in miniature.
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Jubaidi, Ahmad. "ANALISIS KEARIFAN LOKAL BUDAYA TUTUR LISAN SEBAGAI PEREKAT KEBANGSAAN DAN HARMONISASI SOSIAL MASYARAKAT KALIMANTAN TIMUR." DEDIKASI 22, no. 1 (June 7, 2021): 1. http://dx.doi.org/10.31293/ddk.v22i1.5570.
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The purpose of this research is to analyze the existence and role of local wisdom of oral speech culture as the social glue and social harmonization of the people of East Kalimantan. Local wisdom is one of the instruments to reduce or minimize the problems of social conflict, intolerance, radicalism and other forms of violence. One form or form of local wisdom is the local wisdom of oral speech culture as the national glue that has been passed down by our ancestors, the nation's founders as one of the norms, customs and principles in stepping to create calm, peace, glue and harmony in social life and patriotic.The focus of the research, namely: the name of the Local Wisdom of the Oral Culture), the Textual Definition of the local wisdom, the History / Origin of the local wisdom, the description of the implementation of local wisdom in the daily behavior of the community, the Moral Values that are owned / contained from the local wisdom, Evidence in the form of Documents / Photos Portraits as illustrations in life, and the current condition of local wisdom, is it still Live or Live out in the life of the community.The results show the local wisdom of oral speech culture, namely the words of King Senduru when he was crowned the King of Nature can be seen in the Collection of Folk Stories in Kutai, Pemda Kabupaten Kutai, 1977). Moral Value Contained in local wisdom in making decisions should always prioritize deliberation, no one will feel defeated so as to avoid resentment and resentment. Hate and revenge can give birth to the desire to avenge their defeat and this is very bad for the Indonesian people who always prioritize harmony, harmony and unity.Local wisdom is the curse of the Kudungga king. The moral values contained in it are corruption and illegal plunder of the earth since ancient times have been strictly prohibited. So that those who do not heed the curse will have an impact on him either directly or gradually. The local wisdom is still valid today.Local wisdom, said Buen Kesong (Good Heart) from the Paser tribe in Paser Regency, is a source of common strength to harmonize steps in establishing a relationship together. It even illustrates the mystical atmosphere of the people of Paser Regency who have a clean heart in thinking and working, "
Dissertations / Theses on the topic "Photo illustrations and portraits"
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Bresnahan, Krystal M. "From Portraits to Selfies: Family Photo-making Rituals." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6472.
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From family-style portraits to selfies, who is photographer and/or photographed varies as families engage, stage, and interpret the visual. How families participate in photo-making changes how individual family members feel about and relate to not only their photographs, but also each other. In this dissertation, I examine photographs as visual and material objects, and include the communication processes and ritual practices of producing, consuming, curating, viewing, and circulating these photos. By framing family photo-making as ritual, I explore how families do photo-making in everyday life, and identify the patterns of choice embedded in the genre of family photography, which symbolically and socially construct family.
My methodological approach moves from analyzing images to the lives of photos and spaces in which photos are represented and shared, observing visible practices and the traces – photographs and photo displays – they produce. I ask questions about communicative acts of performing rituals and negotiating family memory in the public space of the Easter Bunny Photo Hut, the personal and domestic space of a mother’s home, and the digital space of the social media app Snapchat. Each site provides a unique access point to study family photo-making ethnographically. Combining my ethnographic observations with photo elicitation interviews, I study the symbolic value of photographs negotiated by and between family members.
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Moreno, Jérôme. "Émergence et retrait de la figure humaine : pour une anthropologie de l’image." Toulouse 2, 2009. http://www.theses.fr/2009TOU20022.
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Une pratique plastique de la figure engendre des images complexes. Cette thèse propose une exploration d'images figuratives sur la base d'une approche anthropologique. Une première catégorie d'images envisage la figure comme un élément soumis aux aléas de l'histoire. L'image peut être soit un objet de propagande soit l'objet d'une destruction qui peut aller jusqu'à la mort. La Shoah symbolise cet effacement de la figure et révèle une image en retrait. À l'inverse, par une pratique gestuelle où se mêlent avec paradoxe la déformation, la défiguration, l'altération mais aussi la re-figuration, la figure émerge. L'image envisage parfois la figure comme une trace : une empreinte gestuelle. Les principes de l'accumulation, de l'entrelacs et de la série la font surgir. L'image naît par le geste. Cependant il existe une troisième catégorie d'images qui peut parfois révéler une figure qui hésite. Dans la photographie par exemple, cette figure joue sur la fine frontière entre représentation et abstraction. Entre retrait et émergence, apparition et disparition figurative, l'image oscille. L'oscillation démontre, selon le principe de la survivance, que les images figuratives ont la capacité de resurgir par-delà le temps et l'espace. Leur pouvoir provient du fait que la figure est mémoireFace plastic practice generates sensible images. This thesis proposes an exploration of figurative images based on anthropological approach. In a first category of images, face proceeds from vagaries of History. It could be alternately propaganda and destruction. Shoah symbolizes the face obliteration and reveals an image in the very back. Conversely, the face could rise from the melting pot of distortion, disfigurement and representation. The image envisages face like a trace: a gesture print issued from accumulation, interlace or series principle. In this case, image awakes from the gesture. However, a third set of images could also reveal a hesitant face. For example, in photography, this face plays on the thin frontier between representation and abstraction. Image waves between retreat and emergence, figurative appearance and disappearance. According to survival principle, this oscillation indicates the capability of figurative images to resurface time and space, beyond. They have a power : the power to remember
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Carvalho, Saul Ferdinando de Oliveira. "Retratos = entre as cores e a materialidade." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283938.
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Orientador: Luise WeissDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-17T02:48:04Z (GMT). No. of bitstreams: 1 Carvalho_SaulFerdinandodeOliveira_M.pdf: 20117485 bytes, checksum: f7bef541fa4b7c13503b84f4dc92c950 (MD5) Previous issue date: 2010
Resumo: Esta pesquisa tem por finalidade apresentar as determinantes etapas que compõem a produção de um retrato assim como a linguagem poética contida por trás do mesmo. isso será demonstrado através do estudo de alguns dos principais retratistas, dos diferentes retratos já produzidos ao longo da história da arte, e de uma série de retratos produzidos pelo autor desta dissertação. velásquez, Goya, rembrandt, Picasso e lucian Freud são os artistas-chave desta dissertação devido à influência artística exercida sobre os trabalhos aqui apresentados. Foram produzidas pelo autor dessa dissertação uma série de pinturas que tiveram seu processo criativo descrito e comparado à obra dos artistas citados, sendo estes estudados através de bibliografia e de visitas a grandes museus na Europa, a saber, o Museu do Prado, Reina Sofia e Museu Picasso na Espanha, Rijksmuseun e Mauritshuis na Holanda, Museu do Vaticano e Uffizi na Itália, Museu do Louvre e D'Orsay na França entre outros. Verificou-se então que, quanto mais simples as etapas de criação de uma pintura, maior a possibilidade de atingir uma liberdade de expressão, assim como o afeto pelas pessoas retratadas tornou-se fator determinante na conquista de uma maior expressividade na pintura. Vale ressaltar também que um bom retrato evidencia com naturalidade a identidade do retratado em todos os aspectos - físico, emocional, temporal e psicologio - bem como a identidade do próprio retratista, e esta também foi uma preocupação do artista-autor desta dissertação. os retratos elaborados para esta dissertação e aqui apresentados, tiveram a contribuição e direcionamento da Professora Dra. Luise Weiss e também de alguns professores da universidade Complutense de Madrid
Abstract: This research aims to show the crucial steps that make up the production of a portrait as well as poetic language contained behind it. this will be demonstrated through the study of some of the major portrait painters, the various portraits ever produced throughout the history of art, and a series of portraits produced by the author of this dissertation. velazquez, Goya, Rembrandt, Picasso and Lucian Freud are the key artists of this dissertation due to the artistic influence exerted on the work presented here. Were produced by the author of this dissertation a series of paintings that had described his creative process and compared to the work of the artists mentioned above, which were studied through literature and visits to the major museums in Europe, namely, the Prado, Reina Sofia and Picasso Museum in Spain, and Rijksmuseun, Mauritshuis in the Netherlands, the Vatican Museum and the Uffizi in Italy, the Louvre and D'Orsay in France among others. It then emerged that the more simple steps of creating a painting, the greater the chance of achieving freedom of expression as well as the affection for the people portrayed became a determining factor in winning a major expression in painting. It is noteworthy also that a good portrait reveals the identity of naturally portrayed in all aspects - physical, emotional, temporal and psychological - as well as the identity of the portrait itself, and this was also a concern of the artist-author of this dissertation. the pictures generated for this dissertation and here presented, had the assistance and guidance of Profa. Dra. Luise Weiss and also some professors from the university Complutense of Madrid
Mestrado
Artes Cenicas
Mestre em Artes
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Supartono, Alexander. "Faces and Places: Group Portraits and Topographical Photographs in the Photo Albums of the Sugar Industry in Colonial Java in the Early Twentieth Century." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1282929717.
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Paquette, Gopesa. "L'oeil et l'âme : La formation au photojournalisme de «World Press Photo» en Inde." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28702/28702.pdf.
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Ce mémoire porte sur les tenants et aboutissants d'une série d'ateliers de formation au photojournalisme dispensé en Inde par l'ONG néerlandaise World Press Photo (ci-après WPP). Le regard que j'y porte se situe au croisement de l'anthropologie de l'image et de l'anthropologie des médias d'information en étant fortement infléchi par les réflexions sur les relations de pouvoir. WPP se situe dans la tradition de l'esthétique sociodocumentaire qui s'est développée en Occident au cours du 20e siècle – articulant le pouvoir de véridiction de l'objectivité mécanique à la force sensible du regard subjectif en un élan de monstration réformiste – et a récemment commencé à prendre pied en Inde. Si la majorité des photojournalistes m'a semblé plutôt enthousiaste vis-à-vis la proposition de WPP, j'ai toutefois relevé une résistance de la part de certains d'entre eux à épouser totalement cette conception de la photographie, préférant plutôt ancrer leur pratique dans une tradition nationale indienne.This thesis centers on a series of photojournalism workshops held in India by the Dutch NGO World Press Photo (hereafter WPP). My analytical lens combines contributions from the anthropology of the image and the anthropology of newsmedia while staying sensitive to issues of power. WPP is a proponent of the sociodocumentary aesthetic that developped in 20th century western photography – linking the truth claim proposed by mechanical objectivity with the sensible force of the subjective eye in a reformist impulse – and was proposed to Indian photographers at the turn of the 21th century. Most were eager to adopt WPP's proposed vision of photography, while some had a slight resistance to it, prefering to link their practice to a national Indian tradition. This split loosely followed generational lines, both sets of photojournalists projected themselves into differents areas – global and local – while articulating their practice to a heightened individuality.
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Bril, Damien. "Anne d’Autriche en ses images : légitimation du pouvoir féminin et culture visuelle de la majesté dans la France du XVIIe siècle." Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCH038.
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Anne d’Autriche occupe une place importante, longtemps négligée, dans le développement de l’iconographie royale en France au XVIIe siècle. Ecartée du pouvoir sous le règne de son mari Louis XIII, elle est pourtant le sujet de très nombreuses représentations. Sa présence dans le champ des images connaît un net développement lorsqu’elle accède aux responsabilités du gouvernement à la mort du roi, en 1643, en devenant régente au nom de son fils mineur, Louis XIV. Au-delà de sa majorité en 1651, elle conserve un rôle éminent, jusqu’à la mort de Mazarin en 1661. Ces deux décennies sont marquées par une profonde crise politique qui culmine dans l’épisode de la Fronde. Dans ce contexte, l’image d’Anne d’Autriche devient le support d’un discours sur l’autorité monarchique et sur la défense du pouvoir royal. A partir d’un corpus constitué des représentations de la régente, et en les croisant avec des sources textuelles, cette thèse analyse la construction visuelle de ce discours, et ses effets sur l’évolution de l’image de la royauté en France après le règne de Louis XIII. La « majesté », qui constitue dans le corpus des textes, juridiques, politiques et symboliques, la qualité essentielle du souverain et la marque de son identité, doit ainsi être traduite visuellement dans une incarnation féminine, dans un pays où les lois fondamentales, notamment la loi salique, écartent pourtant les femmes du pouvoir. La richesse du corpus rassemblé pour cette thèse, près de cinq cent images, offre une source essentielle pour comprendre de quelle manière la reine a su dépasser cette contrainte et contribuer, en renouvelant ses modèles, à la représentation de l’autorité monarchique. Cette étude permet ainsi de reconsidérer le rapport des femmes au pouvoir. Pour analyser ces différentes questions, la thèse s’organise en quatre parties. La première partie s’attache à comprendre l’image de la reine régnante, en analysant dans un premier chapitre la définition juridique de la reine, pour montrer de quelle manière l’ordre juridique détermine l’ordre symbolique. On peut ainsi expliquer en quoi le mariage de la reine en 1615 et son introduction à la cour constitue une « naissance iconographique ». Le second chapitre explore les différents aspects de ce portrait de la reine en montrant qu’il relève à la fois de caractères propres et de réactions à la situation – politique et civile – de la reine. La deuxième partie soulève la question des moyens mis en œuvre pour opérer la transformation de cette image, qui permet à la reine d’apparaître en régente du royaume. Le troisième chapitre analyse plus particulièrement les étapes chronologiques de cette transformation, tandis que le quatrième chapitre étudie, sur un plan pratique, la « fabrication » de cette image. La troisième partie envisage ensuite le contenu des images, en dressant une analyse en trois temps de son iconographie. Le cinquième chapitre aborde ainsi le corps de la reine comme support des dimensions morales de son portrait. Le sixième chapitre approfondit cette question dans la perspective religieuse, en étudiant de quelle manière la régente parvient à produire l’image d’une reine « très chrétienne ». Le septième chapitre conclut cette analyse iconographique sur la dimension politique de l’image d’Anne d’Autriche. La quatrième et dernière partie est enfin l’occasion d’analyser le « fonctionnement » de ces images. Le huitième chapitre montre combien la situation des représentations de la reine dans les décors est déterminante pour leur interprétation, en envisageant les cas des résidences royales puis des intérieurs privés. Enfin, le neuvième chapitre propose une étude de la performance des images, en étendant l’analyse aux usages publics des représentations de la reine, dans les monuments ou au cours des cérémoniesAnne of Austria offers an important part, yet neglected, in the the development of royal iconography in seventeenth century France. Devoided from management of power under the reign of her husband Louis XIII, she is however the subject of many representations. The number of her images increases when she accedes to the responsibilities of the government at the death of the king, in 1643, becoming regent in the name of her minor son, Louis XIV. Beyond its majority in 1651, she maintains herself at a prominent place, until the death of Mazarin in 1661. During these two decades, a deep political crisis in France culminates in the so-called Fronde. In this context, the image of Anne of Austria becomes the instrument of a visual narrative on monarchical authority and for the defense of the royal power. Crossing a large corpus of representations of the regent with textual sources, this thesis analyzes the visual construction of this narrative, and its effects on the evolution of the image of power in France after the reign of Louis XIII. In contemporary legal and symbolic literature, "majesty" is presented as he essential quality of the sovereign and the mark of his identity. It must then be visually translated in a female incarnation, despite the fundamental laws, in particular the Salic law, which however exclude women from power. The abundance of the images collected for this thesis, nearly five hundred items, offers an essential source to understand how the queen was able to overcome this constraint and contribute, by renewing its models, to the representation of the monarchical authority. This thesis allows us to reconsider the relationship between women and power. To analyze these different issues, the thesis is organized in four parts. The first part attempts to understand the image of the reigning queen, analyzing in a first chapter the legal definition of the queen, to show how the legal order determines the symbolic one. One can thus understand how the marriage of the queen in 1615 and her arrival at the court can be apprehended as an "iconographic birth". The second chapter explores the different features of this portrait of the queen, showing that it is at the same time a revelation of personal characteristics of the queen and a reaction to the queen's political and civil situation. The second part raises the question of the means implemented to operate the transformation of this image, which allows the queen to appear as regent of the kingdom. The third chapter analyzes in particular the chronological stages of this transformation, while the fourth chapter studies, from a practical point of view, the "fabrication" of this image. The third part then considers the content of the images, drawing up a three-step analysis of its iconography. The fifth chapter addresses the body of the queen as a support for the moral dimensions of her portrait. The sixth chapter deepens this question in the religious perspective, studying how the regent manages to produce the image of a queen "très chrétienne". The seventh chapter concludes this iconographic analysis by studying the political dimension of Anne of Austria's image. The fourth and last part gives finally an analysis of the way these images "operate". The eighth chapter shows how the situation of the queen's representations in decor is decisive for their interpretation, considering the cases of the royal residences and the private interiors. Finally, the ninth chapter proposes a study of the performance of images, extending the analysis to the public uses of representations of the queen, in monuments or during ceremonies
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Lu, Yi-Mu, and 盧宜睦. "Non-Photo-Realistic Illustrations." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/02738243048488214799.
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碩士國立中山大學
資訊工程學系研究所
91
NPR (Non-Photo-Realistic Rendering) is a new and quick-developed research topic in Image Processing. The main purpose of NPR is to generate pencil sketching or watercolor, something different from photos, automatically by computer algorithms. On the other hand, there is another technique called PR (Photo-Realistic Rendering). The goal of PR is to generate real objects by computer algorithms, such as Matting. Furthermore, NPR includes two modes: one is with physical model and the other is not. With physical model, researchers could write programs to simulate NPR by the properties of physical model. Without physical model, researchers could write programs to simulate NPR by their observation and deliberation. This thesis belongs to the latter, NPR without physical model. In the viewpoint of artists, drawing is performance of light and shadow. Then, in scientific, drawing depends on the degree of luminance. Luminance supports artists block and direction when drawing. In this thesis, chapter 1 is introduction of art and previous researches. Chapter 2 describes theories what we can use and present the results. Chapter 3 describes the methods what this thesis use and necessary amendment, and present the results.
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Chen, Hsuan-Ming, and 陳宣銘. "Non-Photo-Realistic Illustrations with Artistic Style." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/67251557078605943030.
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碩士國立中山大學
資訊工程學系研究所
92
NPR (Non-Photo-Realistic Rendering) is a new and quick-developed research topic in Image Processing. The main purpose of NPR is to generate pencil sketching、watercolor and oil painting, something different from photos, automatically by computer algorithms. On the other hand, there is another technique called PR (Photo-Realistic Rendering). The goal of PR is to generate real objects by computer algorithms, such as Matting or Inpainting. Furthermore, NPR includes two modes：one is with physical model, researchers could write programs to simulate NPR by the properties of physical model. Without physical model, researchers could write programs to simulate NPR by their observation and deliberation. This thesis to the latter, there is no physical model in NPR. In the viewpoint of artists, drawing is performance of light and shadow. Then, in scientific, drawing depends on the degree of luminance. Luminance supports artists block and direction when drawing. Moreover, This thesis is mainly simulating oil painting with impressionist.
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Xie, Dai-Syuan, and 謝岱軒. "Illustrations and Interactive Methods of Display- Gay Portraits in the Closet." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/c45k5u.
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碩士國立臺南大學
視覺藝術與設計學系碩士班
103
The art of illustration is a rich and powerful medium that exists today not only in the form of traditional drawings or paintings, but also on the Internet like Facebook fan pages. The art of illustration is capable of expressing the personal characteristics of the creator and serve as a perfect tool of performing the diverse network of identities and concepts. Due to the rapid dissemination of the new electronic media technologies the circulation of information became swift and easy. The creators of illustrations can now share their ideas, concepts, theories and visualizations of their imagination, which are going to become a part of the electronic history records. Furthermore, illustrations can more easily draw inspirations from live-action films, animated films, theatre, and all other media, which enrich the traditional set of themes and motives of the art of illustration. This study is based on a project that combines the art of illustration with a method of displaying them that demands the viewers’ participation and activity. The project, which is under scrutiny here, was inspired by a deep research of the functioning of gay communities on-line. Firstly, more than one hundred participants of the project were found using a Facebook fan page and they were asked to submit nude photographs of themselves and also written statements that expressed their thoughts and emotional states. Secondly, those photographs were transformed into illustrations, using both traditional and electronic media techniques. Thirdly, for the purpose of the exhibition, the illustrations were locked in small, custom-made closets. People visiting the exhibition were invited to interact with the works by searching for keys and trying to open the closets by themselves. The whole concept was based on playing with the ideas of being in the closet and coming out of the closet. The project tries to creatively utilize the design of an interactive social experiment in order to provocatively take up the problems of visibility, self-acceptance and social acceptance, camaraderie, being in and out of the closet. It is supposed to challenge both the viewers who are out and those who are in to think deeply about the other members of their community. Hopefully this research can successfully explore the world of gay illustrations and their artistic and social backgrounds.
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LIN, PEI-YI, and 林沛儀. "A study of the inspirational characteristics apply to the creative illustrations of anthropomorphic animal portraits." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/87742974911854917258.
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碩士中國科技大學
視覺傳達設計系
104
Modern people have long-term lived under pressure, accumulating negative emotions in both body and soul, and these feelings often need to express in different ways. Many people are willing to accept painting as an relaxation method for body and soul which makes the recent popular word “inspirational “ in Taiwan be applied in the field of illustration, widely used in things around, and make modern people’s pressure relief appropriately. In many illustration types, there are many pet styling themes. According to a survey in 2013 by Pollister on-line market research company shows that on average nearly half of people keep pets, the survey indicates that there are many advantages of keeping pets, and health status is better while living with pets. In the mass media, the animals’ styles are applied more variously. Meanwhile, animals as anthropomorphic roles are numerous, they are applied in many story books, advertisements, company images, and so on. They get consumers’ responses, the works give the animals vitalities just like human, and make the viewers have empathy emotions to the animals as to human beings. This study uses “animal” as the creative theme, invites experts to classify the inspirational works, and defines the inspirational by using expert interview method, then analysis the characters of inspirational patterns by using image analysis. I use the result of the study to present the inspirational 15 illustrations, the anthropomorphic cat family to present their warm life, and living theme to present the works. The works are sorted by the lifetime experience of family, friendship, love, and state of mind. This series of works had been displayed at Hsinchu Railway Art Village for five days. During the exhibition, the works and the viewers interacted and communicated very well and got good evaluations and great achievements.
Books on the topic "Photo illustrations and portraits"
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Ann, Christina H, MacLeod, C., Summerton, Rosie, Shaw, N., Ramsay, D., Gray, M., Boswell, J., Pert, B., Scallan, M., Cooke, F. Valtos Dreaming. Kirriemuir, Scotland: Salty Press, 2008.
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Julio Mario Santo Domingo Collection, ed. Photo-booth. [Hebden Bridge]: Urban Fox Press, 2003.
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Giesel, Joachim. Photo-Portraits aus Hannover. Hannover: Fackelträger, 1990.
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Bidner, Jenni. Love your dog pictures: How to photograph your pet with any camera. New York: Watson-Guptill Publications, 2006.
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Kruse, Ingrid von. Zeit und Augenblick: Photo-Portraits. Köln: DuMont Buchverlag, 1988.
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Rhynard, Steve. Rhynard family photo album. [Tuscon, Ariz.] (1829 W. Maplewood Dr., Tucson 85746): S. Rhynard, 1996.
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Baldessari, John. Photo-collages for Tristram Shandy. San Francisco: Arion Press, 1988.
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1929-, Prachatická Vlasta, Prachatická Markéta 1953-, Freisleben Zdeněk author, and Gooding Mel author, eds. Ilustrace a portréty: Illustrations and portraits. Litomyšl: Galerie Miroslava Kubíka, 2017.
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Vincent, Marie-Pierre. Voyage au pays des Français: Le chapiteau-photo. Paris: A. Biro, 1989.
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Lisson, Paul. Pointed Portraits: A Photo Documentary From Hamilton Ontario. Hamilton: The Umberto Ricci Art Foundation, 1993.
Find full textBook chapters on the topic "Photo illustrations and portraits"
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Whitt, Phillip. "Colorizing Portraits and Snapshots." In Pro Photo Colorizing with GIMP, 97–119. Berkeley, CA: Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1949-2_6.
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Whitt, Phillip. "Editing Portraits and Recomposing Images." In Beginning Photo Retouching and Restoration Using GIMP, 189–230. Berkeley, CA: Apress, 2014. http://dx.doi.org/10.1007/978-1-4842-0403-0_8.
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Whitt, Phillip. "Editing Portraits and Recomposing Images." In Beginning Photo Retouching and Restoration Using GIMP, 239–86. Berkeley, CA: Apress, 2023. http://dx.doi.org/10.1007/978-1-4842-9265-5_8.
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Hodne, Lasse. "Unit 2 Lab: Portraits as Faces." In Neuroaesthetics, 101–6. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-42323-9_7.
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AbstractNear where you live, there may be a park with one or more statues or busts of famous people. Take a trip there, or to a museum where photography is allowed. Stand in front of the statue and, first, take a photograph of the depicted person from the front, as shown in this photo.
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Androutsopoulou, Athena, Charikleia Tsatsaroni, Georgia Koutsavgousti, and Kia Thanopoulou. "“I as Photographer”: A Visual Narrative Analysis of Vivian Maier’s Self-Portraits." In Psychobiographical Illustrations on Meaning and Identity in Sociocultural Contexts, 119–41. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81238-6_6.
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Druker, Elina. "Chapter 8. In and out of focus." In Children’s Literature, Culture, and Cognition, 189–209. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.
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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.
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Wincencjusz-Patyna, Anita. "Chapter 5. From Halley’s Comet to the Scout Kwapiszon." In Children’s Literature, Culture, and Cognition, 123–43. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.05win.
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This chapter presents a historic review of the use of photomontage and photo-based collage in Polish books for children (fiction and poetry) in the 20th century. The earliest example dates from 1934, whereas the latest one is dated 1981. The chapter begins with an outline of the artistic background in the period 1918–1939, it gives a short typology of photo-based illustrations, and then analyses the only known examples of genuine photomontage created for children’s books before World War II, namely works by Aleksander Krzywobłocki and Jerzy Janisch in Kometa Halley’a (Halley’s Comet) by Alina Lan, and a sample of works by Franciszka and Stefan Themerson. The chapter continues through the period of the so-called Polish School of Illustration (1950s–1970s), paying special attention to Adam Kilian and Stanisław Zamecznik’s illustrations, and ends with a presentation of the extensive and varied use of photography in illustrations by Bohdan Butenko, one of Poland’s most prominent illustrators.
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Leung, Kei Yan. "Reflections on Doing Cross-Cultural Research Through and with Visual Methods." In Co-Creativity and Engaged Scholarship, 265–97. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84248-2_9.
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AbstractAs a traditional and dominant practice of qualitative research, interviewing is heavily dependent on meanings constructed by language. In a cross-cultural setting, the challenge of adequately capturing what interviewees want to convey is well acknowledged by researchers. Indeed, meanings are not only tied to linguistic meanings but also to cultural practices. Moreover, when the focus of one’s research is to understand the mindsets and practices of farmers, focusing solely on spoken words may also hide the fact that farmers also engage with plants, soil and nature through emotions and feelings. In this chapter I will reflect on my personal experiences as a non-Japanese Asian researcher working with an interpreter during my field work in Japan. In the interviews I conducted with farmers, I used photographs of local artwork to elicit information to understand what relationships they may build between the artworks and their farming practices. I used photo elicitation to supplement the limitations of language in making sense of meanings tied to farming practices. Also, to convey results to a western audience, I explore the use of visual illustrations to complement verbal quotes to more fully convey the meaning of the quotes. Two main observations emerged from this cross-cultural experience: first, the gap between language and cultural meaning can provide valuable opportunities for researchers to experiment with different methods, that broaden our sensibilities beyond rational reasoning in data collection; second, using photography in interviews can unfold different layers of realities than talk-only interviews. I argue that visual methods can take us beyond language and open up a more diverse picture to understand the practices of farmers. It is therefore important for cross-cultural researchers to be reflexive about the limitations of language, transform these challenges to an opportunity to remake method and open up different layers of understanding.
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Winje, Geir. "CHAPTER 5 The Visual Dylan: Religious Art, Social Semiotics and Album Covers." In A God of Time and Space, 141–61. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.74.ch5.
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The essay explores the cover art on 24 studio albums released by Bob Dylan since his debut in 1962, each one with a photo of the artist on the front cover. The photos are read chronologically in accordance with a social semiotic understanding. Any text, including such elements as names, album titles, song titles and motifs, but also formal means, e.g. compositions and geometric patterns underlying the compositions, are understood as meaningful utterances in their own right, not only as illustrations for other texts. The essay also maps out some parallels between the idol as a mediated person belonging to modernity and as a premodern religious concept. A not surprising finding is that parts of early Christian icon art are continued in modern photographic portraits. However, I have not found anything indicating that traces of early religious art are more prominent on Bob Dylan’s albums than on other albums.
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Nenadic, Stana. "Rural Craft in the Lowlands and Highlands." In Craftworkers in Nineteenth Century Scotland, 79–106. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474493079.003.0004.
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In this chapter attention turns to the rural economy where craftworking was sustained and evolved in a range of sectors, both long established and new. Photographic evidence is used, including images of a wheelwright’s shop and a small Mid-Lothian hamlet c.1890, a photo album of a Highland (Argyllshire) estate in the 1860s showing the people who lived and worked there and portraits of known individuals in workshop settings or with family members. The complexity of individual craftsmen’s lives and work forms the core of the chapter with four case illustrations of a weaver, stonemason, blacksmith and patternmaker. The latter from Ayrshire, emigrated to Canada. Craft profiles in Ayrshire and Ross-shire complete the chapter.
Conference papers on the topic "Photo illustrations and portraits"
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Mohanty, Vikram, David Thames, Sneha Mehta, and Kurt Luther. "Supporting Historical Photo Identification with Face Recognition and Crowdsourced Human Expertise (Extended Abstract)." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/660.
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Identifying people in historical photographs is important for interpreting material culture, correcting the historical record, and creating economic value, but it is also a complex and challenging task. In this paper, we focus on identifying portraits of soldiers who participated in the American Civil War (1861-65). Millions of these portraits survive, but only 10-20% are identified. We created Photo Sleuth, a web-based platform that combines crowdsourced human expertise and automated face recognition to support Civil War portrait identification. Our mixed-methods evaluation of Photo Sleuth one month after its public launch showed that it helped users successfully identify unknown portraits.
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Chen, Yuetian, Bowen Shi, Peiru Liu, Ruohua Li, and Mei Si. "Automated Visual Story Synthesis with Character Trait Control." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003275.
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Visual storytelling is an art form that has been utilized for centuries to communicate stories, convey messages, and evoke emotions. The images and text must be used in harmony to create a compelling narrative experience. With the rise of text-to-image generation models such as Stable Diffusion, it is becoming more promising to investigate methods of automatically creating illustrations for stories. However, these diffusion models are usually developed to generate a single image, resulting in a lack of consistency be- tween figures and objects across different illustrations of the same story, which is especially important in stories with human characters.This work introduces a novel technique for creating consistent human figures in visual stories. This is achieved in two steps. The first step is to collect human portraits with various identifying characteristics, such as gender and age, that describe the character. The second step is to use this collection to train DreamBooth to generate a unique token ID for each type of character. These IDs can then be used to replace the names of the story characters in the image-generation process. By combining these two steps, we can create controlled human figures for various visual storytelling contexts.
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Kazimov, Tofig, and Shafagat Mahmudova. "Estimation of the impact of geometrical characteristics on the recognition to identify a human face on the basis of photo portraits." In 2012 IV International Conference "Problems of Cybernetics and Informatics" (PCI). IEEE, 2012. http://dx.doi.org/10.1109/icpci.2012.6486333.
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Wasfy, Tamer M., Hatem M. Wasfy, and Jeanne M. Peters. "On-Line University Physics Course Using Intelligent Virtual-Tutors, Virtual-Reality and Advanced Multimedia." In ASME 2009 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/detc2009-86755.
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A web-based self-paced university physics course, called the Virtual Physics Lab (VPL) is described. The VPL delivers both the lecture and lab components of a physics course using interactive virtual-reality simulations, high-end multimedia lectures and 2D/3D mini-games/exercises. The VPL’s interactive simulations are delivered in a video-game-like 3D photo-realistic virtual environment using real-time models to simulate typical physics experiments performed in the lab part of the physics course such as: frictional motion of a block on an inclined plane, vibrations of a mass-spring system and impact of particles. Students can change in real-time the parameters of the experiments and observe the effect on the experiment’s response and measurements. The multimedia lectures are delivered using a multimodal combination of speech and highlighted text delivered by near-photorealistic intelligent animated lip and gesture synched virtual tutors. The multimedia lectures include synchronized interactive 2D/3D animated illustrations and movies. A search engine and a hierarchical expert system allow the virtual tutors to answer natural-language questions and execute natural-language commands given by the student. Exercises in the form of mini-games that use relevant physics principles are used to increase the students’ interest in the material being taught and to test the student’s comprehension. The VPL’s interactivity and visually stimulating instruction will result in faster assimilation, deeper understanding, and higher memory retention by the students than traditional classroom/text-book instruction.
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Jen Yang, Po, I. Wen Yen, and Meng-Cong Zheng. "User Experience Study on Self-Checkout System of Hypermarkets in Taiwan." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001690.
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In recent years, many hypermarkets have introduced self-checkout technology. The introduction of new technology is meant to provide a better experience for consumers and reduce the workload of store staff. However, the fact that a few extra staff members are still required to assist consumers in the self-checkout process reflects that consumers still have doubts about the service quality.In this study, 30 subjects who had never used self-checkout were invited to conduct task experiments on the machines at the two large hypermarkets in Taiwan. The assessments included (1) Functional Sequence: to understand the difference between the expected operation process and the actual one, (2) Task Operations: including membership login, scanning of different packaged products, electronic receipt registration, and payment checkout, with the operating time recorded throughout the experiment, (3) to understand the difference between the two self-checkout Systems in terms of interface functions and evaluation by using System Usability Scale (SUS), NASA-TLX and semi-structured interview.It was found that incorrect operation of the payment devices occurred in both machines of the two hypermarkets. The prompts from the system interface were not effective in helping the subjects to operate the machines smoothly. We found that (1) The interface of the hypermarket A was laid out with both illustrations and function buttons, resulting in 73% of the subjects failing to distinguish the difference between the two types of information and causing incorrect operation and failure to find the device; (2) The interface of the B market uses the photo prompt information; 60% of the test subjects ignore the photo, and the interface information cannot effectively assist the test subjects to operate; (3) The design of the machine uses a vertical screen (24" for both machines) and a full-page layout interface, which makes it easy for the test subjects to ignore the buttons, prompts, and hardware devices located in the corners of the interface when operating at close range.Moreover, the SUS of the machines in the two hypermarkets were 74.66 (C level) and 51.83 (F level) respectively, and neither of them could meet the operational requirements. This study found that when the test subjects operated the machines for the first time and faced with the queue of people, their mental stress level and error rate increased. The future interface design of the system should strive for precise operation and information understanding within a short period of time.
Reports on the topic "Photo illustrations and portraits"
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Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.
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The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).