Littérature scientifique sur le sujet « Oil-paint models »
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Articles de revues sur le sujet "Oil-paint models"
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Carlesi, Serena, Marilena Ricci, Costanza Cucci, Cristiana Lofrumento, Marcello Picollo et Maurizio Becucci. « Multivariate analysis of combined reflectance FT-NIR and micro-Raman spectra on oil-paint models ». Microchemical Journal 124 (janvier 2016) : 703–11. http://dx.doi.org/10.1016/j.microc.2015.10.023.
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Nwabanne, Joseph Tagbo, Ozioma Onyinye Oguegbu et Chinedu Matthew Agu. « Removal of Solids from Palm Oil Mill Effluent and Paint Wastewater Using Electrocoagulation Technique ». International Journal of Electrochemistry 2018 (1 novembre 2018) : 1–9. http://dx.doi.org/10.1155/2018/4349639.
Texte intégralRésumé :
Electrocoagulation has been employed as a treatment technique for treating various wastewaters. This study focuses on the performance of electrocoagulation process for the treatment of Palm Oil Mill Effluent (POME) and Paint Wastewater (PW) using iron electrodes. POME obtained from local palm oil producers and PW from a paint industry, both in Enugu state of Nigeria, were treated by electrocoagulation using two iron electrodes. Effects of current density, electrocoagulation time, pH, and temperature were studied. Results revealed that this process could reduce the concentration of Total Suspended and Dissolved Solids (TSDP), in both POME and PW. The highest removal efficiencies of 65% and 76% were obtained for POME and PW, respectively, at 3 Amps, 60min, pH of 10, and 50°C for POME and 3 Amps, 60min, pH of 6, and 60°C for PW. Of the two kinetic models studied, second-order kinetic model fitted best to the obtained experimental kinetic data. From this study, it can be concluded that electrocoagulation is effective in the treatment of POME and PW.
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Kim, Handong, Junho Kim et Heekyung Yang. « A GAN-Based Face Rotation for Artistic Portraits ». Mathematics 10, no 20 (18 octobre 2022) : 3860. http://dx.doi.org/10.3390/math10203860.
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We present a GAN-based model that rotates the faces in artistic portraits to various angles. We build a dataset of artistic portraits for training our GAN-based model by applying a 3D face model to the artistic portraits. We also devise proper loss functions to preserve the styles in the artistic portraits as well as to rotate the faces in the portraits to proper angles. These approaches enable us to construct a GAN-based face rotation model. We apply this model to various artistic portraits, including photorealistic oil paint portraits, watercolor portraits, well-known portrait artworks and banknote portraits, and produce convincing rotated faces in the artistic portraits. Finally, we prove that our model can produce improved results compared with the existing models by evaluating the similarity and the angles of the rotated faces through evaluation schemes including FID estimation, recognition ratio estimation, pose estimation and user study.
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Falcão, J., A. Sandes, B. Rodrigues, I. Nascimento, P. Schwingel et E. Silva Júnior. « Neuroanatomical structures manufacture : an alternative in the practical teaching of neuroanatomy ». Journal of Morphological Sciences 33, no 01 (janvier 2016) : 017–21. http://dx.doi.org/10.4322/jms.093615.
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Abstract Introduction: The neuroanatomy discipline is seen by students as one of the most complex and difficult of the basic cycle in health courses. This is taught with lectures and practical classes, where in the last one, the use is made of corpse parts. However, the use of this type of material has been decreasing making it professors and monitors search for new alternatives. One of these alternatives is the manufacture and the use of neuroanatomical models that assist and facilitate the understanding of practical teaching and learning. The study aims to manufacture neuroanatomical models alternative for the practical Neuroanatomy classes. Materials and Methods: The study is an action research, exploratory, descriptive, where were made neuroanatomical models in the Human Anatomy Laboratory at the University of Pernambuco, Petrolina, with cheap materials in order to improve learning in practical teaching. The confections of these models were made with polystyrene, biscuit dough, string, colored acrylic paint, ink colored oil, rubberized, cardboard and plaster bandages. Results: Were made ten neuroanatomical parts that corresponding to the spinal cord, reticular formation and the dermatomes of the limbs. Conclusion: It was observed that the manufacturing of these models is necessary for conducting practical classes being possible elaborate them with quality at low cost, being an alternative in front of real difficulties in obtaining corpse parts and being a strong tool in the teaching and learning of the Neuroanatomy discipline. But regardless of the alternatives utilized, the confection of models will never replace the use of corpse parts.
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Melo, Maria J., Ana Freitas, Cristiana Vieira, Márcia Vilarigues, Márcia Vieira, Paula Nabais, Sílvia Sequeira, Mónica Lourenço, Gabriel Oliveira et Ana Rita Correia. « Study of the Materials and Techniques of a Rare Papier-Mâché Mushroom Model Crafted in H. Arnoldi Factory ». Molecules 28, no 3 (20 janvier 2023) : 1062. http://dx.doi.org/10.3390/molecules28031062.
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The Natural History and Science Museum of the University of Porto houses a collection of 45 models of fungi in papier-mâché from the 19th-century, which were used at the university until 2015 as didactic models. For the first time, the materials and techniques used in the production of a Boletus edulis model were studied (vernacular name: cep, porcini). These sculptures, made to life-size scale, are painted in colors similar to those of the represented species (white, brown, and light brown). They are fixed to a rectangular base, which is painted black, and to which moss has been pasted. To fully characterize each color, at the molecular level, a multi-analytical approach was used, combining energy-dispersive x-ray fluorescence spectroscopy (micro-XRF) with fingerprinting techniques of Raman microscopy (microRaman and handheld Raman) spectroscopy and microFourier transform infrared spectroscopy (microFTIR). The papier-mâché was prepared with a groundwood paper to which kaolin and a quartz-based material have been added to reinforce the structure. Raman microscopy also identified carbon black in it, which is possibly responsible for its grey color. The white color was unequivocally identified as lithopone by microRaman. This white paint was prepared in a proteinaceous tempera, with calcium carbonate having been identified as filler (by microFTIR). In the brown color, iron was identified by microXRF, pointing to the use of ocher, which was not possible to identify by microRaman and microFTIR. Regarding the black rectangular base, the moss was fixed using a collagen-based glue. The binding medium in this black is possibly a mixture of drying oil and protein. Again, XRF detected iron as the main element, but it was not possible to acquire a Raman spectrum due to the high fluorescence of the binder/varnish. Others, such as the writing inks, will also be discussed. The colors identified are in line with the best materials available for use by artists of that time. This new knowledge is fundamental to informing the choice of the best conservation strategies for the preservation of these extraordinary models.
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Giltaij, J., P. F. J. M. Hermesdorf et E. Van De Wetering. « Enkele nieuwe gegevens over Rembrandts 'De Eendracht van het Land' ». Oud Holland - Quarterly for Dutch Art History 100, no 1 (1986) : 35–48. http://dx.doi.org/10.1163/187501786x00034.
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AbstractThe title from Rembrandt's inventory (Note 2), which was first linked with this problematical painting (Fig. I, Note I) by Smith, has hitherto never been questioned, but, broadly speaking, two different interpretations have been suggested for it. Schmidt-Degener connected it with the glorification of the illustrious past of Amsterdam in uniting with other towns to fight for the country's rights and prosperity (Note 4), an idea later amplified by Hellinga on the basis of Carel van Mander and Cesare Ripa (Note 5). The historian Cornelissen, on the other hand, saw it as a reflection of the tensions between Amsterdam and the Stadholder's court around 1640 and an illustration of the significance of Union, Religion, the Militia and Justice for the concord of the state (Note 6). Schmidt-Degener regarded the work as a sketch for a large painting, possibly a militia piece, but others have seen it as a design for a print (Notes 7 -9), on the analogy of some other oil sketches by Rembrandt which are models for etchings. A completely different suggestion made recently is that the painting is at the dead-coloured stage and thus unfinished (Note II). Since the last figure of the date is almost illegible, various dates in the 1640's have been put forward, most scholars opting for Schmidt-Degener's suggestion of 1641. Examinations in connection with the recent restoration of the painting have revealed a number of things which are presented briefly here as a new guide to possible lines of research. The restoration was necessitated by the fact that the varnish had become opaque in places and the excessive retouching had darkened (Figs. 2-4). The cradling on the back had also distorted the panel, which had been planed down to only about 3 mm. The cradling has now been removed and replaced by a lighter system of small oak blocks, which hook on to an aluminium grid (Fig. 5, Note 14). Investigation of the panel showed that the strip about 6 cm wide at the bottom, which Schmidt-Degener thought to have been added during painting, was an integral part of the original panel, with small blocks of wood let in by later hands to prevent the join from opening (Fig. 6) . A dendrochronological examination of the panel showed it to have come from the same oak tree as those of Rembrandt's River Valley with Ruins at Cassel (Br.454) and the Portrait of a Man in Polish Costume dated 1637 in Washington (Br.211). The latest date for the felling of the tree in question is 1634 ±5, so that our painting could have originated earlier than is indicated by the date under the signature. The edges of the painting appear to have been pared of when the panel was planed down, so that the last figure is probably missing altogether (there is no trace of it on the infra-red photograph, Figs. 14 and 15). A further discovery on the panel are the notches at regular intervals round the edges for securing it with pins and nails in a frame, a phenomenon known from other 17th-century panels (Note 18), although not previously encountered in any by Rembrandt. Investigation of the painting technique, produced a surprise in respect of the most recent theories on Rembrandt's technique (Note 19), viz. that alongside and underneath the highlights containing lead white there proved to exist an earlier stage in which the highlights were applied in a thin paint composed of a watery binding medium (animal glue) with chalk. These light touches, scarcely visible in the X-ray photograph (Fig. 7), are clearly part of the first laying-in of the composition, to which lightly sketched brushstrokes in a darker tone may also belong. Thus this largely monochrome painting also has a monochrome sketch underneath, which implies that what we now have is a finished picture. The meticulous detailing and local, use of colour support this theory, as does the extensive use of scratching in the wet paint to create modelling. The sketchy syle was evidently considered sufficientfor the picture's purpose. A further notable phenomenon is that a thin layer of varnish is found between some of the paint layers in those areas which Rembrandt repainted at a later stage, which could indicate that the picture was already regarded as finished before those changes were made. As the restoration proceeded, it became ever clearer that the picture was painted in various states. Strips about 6 cm wide at top and bottom proved to have been left unpainted originally (Fig. 9), for reasons that can only be guessed at. The two main stages comprised first the laying-in of the composition on a brown to pink ground in a light watery paint, with draughtsmanlike lines of brown to black and scratching in various places. The greenish-black shadows, very thick white highlights and the major part of the sky to the left of the tree also belong to this stage. At the second stage Rembrandt returned to the picture, possibly after a considerable period, and worked it up again with broad strokes of a heavier paint. This relates to the strips at top and bottom, the shadows under the battle and above the chain and the area to the right of the tree above the cavalry procession. Repentirs are found in both stages, notably the elimination of a row of escutcheons continuing the series now visible (see Figs. II and 7), while the light cloth to the left of the arms of Amsterdam and the text Soli Deo Gloria appear to be relatively late additions during the first stage. As to the date of the painting, the style alone indicates the earliest possible date in the 1640's, while the first stage could well date from before 1640. Stylistic links between it and the Landscape with the Good Samaritan of 1638 in Cracow (Br.442, Note 27) suggest that clues to the interpretation must be looked for earlier than 1640 and raise the question of a possible connection with a historical event like the entry of Maria de Medici in 1638 (Note 28). As a result of the restoration numerous details in the picture have now become more clearly legible, while the prominence of the arms of Amsterdam is even more apparent, suggesting that Schmidt-Degener's interpretation is the most likely. If the composition is regarded as an allegory on Concord, the battle in the background could be seen as Discord, so that the Concord here might be Ripa's Unione Civile (Note 29), in this case that of Amsterdam, rather than a united campaign against a historical enemy. This does not explain problematical details, such as Justice on the far left, but it might be a fruitful line to follow. While it cannot be ruled out that the picture is a study for a print, its large size, the fact that it is not on paper, like most of the sketches Rembrandt made for etchings, and its relatively rich palette point in another direction. It still seems closest to the type of modello made by Rubens, Lievens and Bol for large decorative projects (Note 30).
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Коницкая [Konickaja], Елена [Jelena], et Бируте [Birutė] Ясюнайте [Jasiūnaitė]. « Метафоры утренней и вечерней зари в литовской и русской поэзии ». Acta Baltico-Slavica 40 (28 décembre 2016) : 186–205. http://dx.doi.org/10.11649/abs.2016.006.
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Metaphors of Dawn in Lithuanian and Russian Poetry This article analyzes the realizations of certain basic metaphors of dawn/sunset in the works of twentieth-century Lithuanian and Russian poets. The first part of the article examines important discrepancies between biomorphic, zoomorphic and anthropomorphic metaphors, as well as mythological metaphors. In Lithuanian poetry, dawn/sunset is associated with different objects compared to Russian poetry (wild strawberries and cherry, birds, fish and snakes in Lithuanian poetry; cranberries, melons and apples, birds and animals in Russian poetry). There is a lack of anthropomorphic metaphors for girl or woman in Lithuanian poetry. The associations of dawn/sunset with mythic entities are also entirely different. In the realization of the metaphor of DAWN/SUNSET – JEWELS, DAWN/SUNSET – FABRIC/ITEM MADE of FABRIC, DAWN/SUNSET – METAL/ITEM MADE of METAL, both similarities and significant differences are registered.The second part of the article examines more closely the similarities between the realizations of three basic metaphors, in which the dawn/sunset is interpreted as: 1) fire or blaze; 2) a burning object; 3) liquid.The analyses embraces about 200 poetry texts excerpts: 95 excerpts from the poetry works by 28 Lithuanian authors and 105 excerpts from the works by 30 Russian authors. In both languages, the metaphoric expressions of the first group highlight the bright colors of dawn/sunset; intensity; impression of a burning object. The metaphorization of the dark hues of dawn is specific to the Russian poetry. Semantically close to this group are metaphors of the DAWN/SUNSET – BURNING OBJECT. Dawn/sunset is interpreted as fire, bonfire, holy fire, burning coals, a lantern or torch. The image of the sacrificial fire is more widespread in the Russian poetry than in Lithuanian. In both poetic systems, folkloric images are used to develop the basic metaphor. The realization of the common metaphor DAWN/SUNSET – LIQUID as DAWN/SUNSET – BLOOD is associated with the metaphor SUNSET – DEATH in the Lithuanian poetry, while in Russian poetry – with the metaphor SUNSET – WOUND. The metaphor DAWN/SUNSET – TEAR is equally rare. In the metaphor DAWN – WATER/WATER RESERVOIR, the overlap of the images and relation to the more general metaphor LIGHT – WATER is evident in the both groups. In the group DAWN/SUNSET – CHEMICAL LIQUID. The image of paint (including cosmetics) is widely used in the both poetical systems. In the latter group, one can notice the overlap of the metaphor DAWN – WINE. It is specific to the Russian metaphoric system the use of pickle, cod-liver oil images.The Lithuanian and Russian poetic systems are characterized by both specific and common metaphors of dawn and dusk. These metaphors reveal some differences in the frequency of using various models, as well as in their particular content. Metafory świtu w poezji litewskiej i rosyjskiej Artykuł analizuje realizację pewnych zasadniczych metafor świtu/zmierzchu w utworach dwudziestowiecznych poetów litewskich i rosyjskich. W pierwszej części artykułu omówiono istotne rozbieżności między metaforami biomorficznymi, zoomorficznymi, antropomorficznymi, jak też metaforami mitologicznymi. W poezji litewskiej świt/zmierzch kojarzy się z różnymi obiektami porównywanymi z poezją rosyjską (dzikie truskawki i jagody, ptaki, ryby i węże w poezji litewskiej; żurawina, arbuzy i jabłka, ptaki i zwierzęta w poezji rosyjskiej). W poezji litewskiej brak metafor antropomorficznych w odniesieniu do dziewczyny lub kobiety. Skojarzenia świt/zmierzch z hasłami mitycznymi są także całkowicie odmienne. W realizacji metafor ŚWIT/ZMIERZCH – KLEJNOTY, ŚWIT/ZMIERZCH – TKANINA/ ARTYKUŁ WYKONANY Z TKANINY, ŚWIT/ZMIERZCH – METAL/ ARTYKUŁ WYKONANY Z METALU, odnotowane zostały zarówno podobieństwa, jak i znaczące różnice.W drugiej części artykułu bliżej zbadane zostały podobieństwa w realizacji trzech podstawowych metafor, w których świt/zmierzch interpretowany jest jako: 1) ogień lub blask; 2) palący się przedmiot; 3) płyn.Analiza obejmuje ok. 200 wyjątków z tekstów poetyckich: 95 pochodzi z wierszy 28 autorów litewskich, zaś 105 z utworów 30 rosyjskich autorów. W obu językach wyrażenia metaforyczne z pierwszej grupy uwypuklają jaskrawe barwy świtu/zmierzchu; intensywność; wrażenie płonącego obiektu. Metaforyzacja ciemnych odcieni świtu właściwa jest poezji rosyjskiej. Semantycznie bliskie tej grupie są metafory ŚWIT/ZMIERZCH – PALĄCY SIĘ OBIEKT. Świt/zmierzch interpretowany jest jako ogień, fajerwerk, święty ogień, rozżarzony węgiel, lampion lub pochodnia. Obraz ognia sakryfikowanego bardziej rozpowszechnił się w poezji rosyjskiej niż litewskiej. W obu systemach poetyckich wyobrażenia folklorystyczne służą do wywołania podstawowych metafor. Realizacja powszechnej metafory ŚWIT/ZMIERZCH – PŁYN jako ŚWIT/ ZMIERZCH – KREW kojarzy się z metaforą ZMIERZCH – ŚMIERĆ w poezji litewskiej, podczas gdy w rosyjskiej – z metaforą ZMIERZCH – RANA. Metafora ŚWIT/ ZMIERZCH – ŁZA jest także rzadka. W metaforze ŚWIT – WODA/ ZASOBNIK WODY nałożenie się na siebie obrazów i relacji z ogólniejszą metaforą ŚWIATŁO – WODA jest oczywiste w obu tych grupach. W grupie ŚWIT/ZMIERZCH – PŁYN CHEMICZNY obraz farby (łącznie z kosmetykiem) jest używany szeroko w obu poetyckich systemach. W tej ostatniej grupie można zauważyć nakładanie się na siebie z metaforą ŚWIT – WINO. Właściwe rosyjskiemu systemowi metafor jest użycie obrazów pikle, olej z wątroby dorsza itd.Systemy poetyckie litewski i rosyjski cechują zarówno konkretne, jak i ogólne metafory świtu i zmierzchu. Te metafory zdradzają pewne różnice w częstotliwości używania różnych modeli, a zarazem ich szczególne treści.
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Anoman, Letchi, Prasanta K. Sahoo et Kali A. Koka. « A Numerical Approach to Assess Marine Fouling Tolerability on the Hull of Surface Vessels ». Marine Technology Society Journal 51, no 2 (1 mars 2017) : 49–58. http://dx.doi.org/10.4031/mtsj.51.2.1.
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AbstractMarine fouling on the hull of surface vessels is a topic of increasing importance in the maritime field for its environmental and financial impacts. Recent research developments have introduced mathematical models dealing with the frictional resistance associated with fouling. Herein, an implementation of these models in a numerical code to predict the added resistance of ships due to biofouling and associated costs is presented. The code is designed to account for the singularity of each context based on at least one observation of the fouling condition. Through a hypothetical yet realistic scenario, it is shown that it enables proactive management by indicating when fouling is no longer tolerable from a financial standpoint. <def-list>Nomenclature<def-item><term>B</term><def>log-law intercept (=5.0)</def></def-item><def-item><term>CA</term><def>correlation allowance</def></def-item><def-item><term>CC</term><def>cleaning cost</def></def-item><def-item><term>CF</term><def>frictional resistance coefficient</def></def-item><def-item><term>Cf</term><def>local skin friction coefficient</def></def-item><def-item><term>Cfuel</term><def>cumulative added fuel cost</def></def-item><def-item><term>Cfuel</term><def>fuel price</def></def-item><def-item><term>CR</term><def>residuary resistance coefficient</def></def-item><def-item><term>CT</term><def>total resistance coefficient</def></def-item><def-item><term>CV</term><def>viscous resistance coefficient</def></def-item><def-item><term>FC</term><def>cumulative extra fuel consumption</def></def-item><def-item><term>Fn</term><def>Froude number</def></def-item><def-item><term>g</term><def>acceleration due to gravity</def></def-item><def-item><term>KF</term><def>cumulative added power</def></def-item><def-item><term>K</term><def>roughness height</def></def-item><def-item><term>Ks</term><def>sand roughness height</def></def-item><def-item><term>1 + K1</term><def>form factor</def></def-item><def-item><term>L</term><def>length of ship</def></def-item><def-item><term>PB</term><def>brake power or engine power</def></def-item><def-item><term>PE</term><def>effective power</def></def-item><def-item><term>Ra</term><def>centerline averaged roughness height</def></def-item><def-item><term>Rn</term><def>Reynolds number</def></def-item><def-item><term>RT</term><def>total resistance</def></def-item><def-item><term>Rt</term><def>maximum peak to trough roughness height</def></def-item><def-item><term>Rt50</term><def>maximum peak to trough roughness height over a length of 50 mm</def></def-item><def-item><term>S</term><def>wetted surface area</def></def-item><def-item><term>U</term><def>velocity</def></def-item><def-item><term>Ue</term><def>freestream velocity</def></def-item><def-item><term>U τ</term><def>friction velocity = <inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" mimetype="image" xlink:href="MTS51201e16.gif"/></def></def-item><def-item><term>T</term><def>threshold time</def></def-item><def-item><term>Tsea</term><def>time spent at sea</def></def-item><def-item><term>ΔU+</term><def>roughness function</def></def-item><def-item><term>δ</term><def>boundary layer thickness</def></def-item><def-item><term>ρ</term><def>density of fluid</def></def-item><def-item><term>κ</term><def>Von Karman constant (=0.41)</def></def-item><def-item><term>η</term><def>efficiency of the propulsion system</def></def-item><def-item><term>μ</term><def>dynamic viscosity</def></def-item><def-item><term>υ</term><def>kinematic viscosity</def></def-item><def-item><term>τ</term><def>shear stress</def></def-item></def-list><def-list>Subscripts<def-item><term>clean</term><def>clean, newly coated</def></def-item><def-item><term>r</term><def>rough</def></def-item><def-item><term>sm</term><def>smooth</def></def-item></def-list><def-list>Superscript<def-item><term>+</term><def>normalized variable</def></def-item></def-list><def-list>Abbreviations<def-item><term>ATTC</term><def>American Towing Tank Conference</def></def-item><def-item><term>BMT</term><def>British Maritime Technology</def></def-item><def-item><term>IFO</term><def>intermediate fuel oil</def></def-item><def-item><term>IMO</term><def>International Maritime Organization</def></def-item><def-item><term>IPPIC</term><def>International Paint and Printing Ink Council</def></def-item><def-item><term>ITTC</term><def>International Towing Tank Conference</def></def-item><def-item><term>MEPC</term><def>Marine Environment Protection Committee</def></def-item><def-item><term>NSTM</term><def>Naval Ships' Technical Manual</def></def-item><def-item><term>SFOC</term><def>specific fuel oil consumption of engine</def></def-item></def-list>
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Lee, D. S. H., N. S. KIM, M. Scharff, A. V. Nielsen, M. Mecklenburg, L. Fuster-López, L. Bratasz et C. K. Andersen. « Numerical modelling of mechanical degradation of canvas paintings under desiccation ». Heritage Science 10, no 1 (12 août 2022). http://dx.doi.org/10.1186/s40494-022-00763-w.
Texte intégralRésumé :
AbstractMechanical damage in oil paintings on canvas show up as cracks and loss of original paint. Several parameters can contribute to this type of degradation. These paintings have a complex layered structure, typically composed of minimum four or more hygroscopic materials, each of which has different (non-linear) material properties and geometrical complexities. The mechanical degradation of canvas paintings occurs because each of these materials have diverse responses under fluctuating environmental conditions, especially temperature and relative humidity (RH). By examining the geometrical complexities and the non-linear material properties, this paper presents an investigation of three degradation phenomena under desiccation: (1) bulging formation around the corners, (2) crack formation in glue and ground layers, and (3) plastic deformation in the ground and oil paint layers.This on-going investigation provides further insights into the global and local stress distribution in typically constructed oil canvas paintings. This includes finite element method (FEM) and extended-FEM (XFEM) computer models at various scales, under desiccation from the initial RH of 90%, and 50–10%. The models consist of four to five different materials, namely lead white oil paint, red iron oxide oil paint, rabbit skin glue, linen canvas, and a spruce stretcher. The models were constructed using several combinations of materials to conduct parametric studies on the effects of glue shrinkage in paintings due to desiccation, and changing the mechanical properties of the ground layers. The relevant geometrical and mechanical properties with respect to the stress relaxation conditions are discussed in detail.The simulation results of the full-scale models show that the shrinkage of glue lowers the level of induced tension stresses in the paint layers in the central area of the painting due to the inward bowing of the stretcher. The inward deformation of the stretcher can be 4.5 times as large in a painting with a glue layer as in one without. This indicates the difficulty in forming cracks near the center of paintings purely by desiccation; however, in close-up cross-section model, cracks of 20 μm in length could still be observed in the ground exposed to an extreme RH change of 90% to 10%.The analysis of cross-section models with the full geometrical complexity for the corners showed that multiple cracks are likely to form in ground and paint layers in the corners when desiccated by 40%; RH 50–10%. Furthermore, in extreme cases with stiffer ground/paint such as zinc white, cracks can form from smaller drop in RH; RH 50% to 35%. Such cracks are form in the ground layers, and therefore, are not initially visible as they are positioned below the uncracked paint layer. This result can be the possible explanation for cracks in the ground, which are initially invisible with the naked eye, but can be revealed with X-radiographs.The results support the hypothesis that fluctuations in relative humidity can cause hidden cracks in the lower layers, which can eventually propagate further into the upper-lying paint layers of paintings. The cracks typically form when the desiccation reaches a 40% drop, but in cases of brittle materials the drop causing cracks can be lower. The actual RH drop causing cracks depends on the specific material composition.
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Hagan, Eric, Evan Quasney et Marion Mecklenburg. « A Parametric Analysis of Relative Humidity Effects on Traditional Panel Paintings ». MRS Proceedings 852 (2004). http://dx.doi.org/10.1557/proc-852-oo2.8.
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ABSTRACTA finite element analysis was performed on panel painting structures subjected to changes in relative humidity. Measured Young's modulus values and humidity expansion coefficients were used to define the properties of materials characteristic to northern and southern European panels. Models of northern panels simulated white oak with two layers of oil paint, while models of southern panels simulated cottonwood with gesso and two oil paint layers. In both cases, the properties of the oil paints were input for lead white and Naples yellow respectively. Influence of radial/tangential grain orientation, panel thickness, and structural support were investigated through various humidity changes. Results are presented in the form of stress in the wood, gesso, and paint layers as well as curvature of the painted surfaces. Methods of reducing panel curvature with structural support are discussed, which involve applying a frictionless cradle, wood battens, or verso gesso layer. Verification of the model was performed with a derivation of general stress equations for a cradled painting with no friction between the slider-bars and the panel. A comparison of derived and parametric results confirms accurate behavior of the model.
Thèses sur le sujet "Oil-paint models"
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CARLESI, SERENA. « Optical spectroscopies : application to the study of paint models ». Doctoral thesis, 2016. http://hdl.handle.net/2158/1043901.
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My Ph.D. work was aimed at developing new methodologies based on combination of traditional spectroscopic techniques with multivariate analysis tools to analyze binding media used in traditional easel European paintings. My dissertation explored the possibility of fully characterizing traditional neat binding media and complex systems such as oil-paint models, applying Principal Component Analysis (PCA) on combined first derivative Fourier Transform Near Infrared (FT-NIR) and micro-Raman spectra. Furthermore, I also carried out a preliminary study to evaluate potentialities and limits of the 2D-Fluorescence spectroscopy, applied in combination with PCA to study and characterize neat binding media. This work was performed within the framework of the national project “SICH PRIN 2010-11 - Sustainability in Cultural Heritage from diagnosis to the development of innovative systems for consolidation, cleaning and protection” that was funded by the Italian Ministry of University and Research.
Livres sur le sujet "Oil-paint models"
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State University College at Buffalo. Dept. of Art Conservation., dir. Molecular studies of asphalt, mummy and Kassel earth pigments : Their characterisation, identification and effect on the drying of traditional oil paint. [S.l : s.n.], 2004.
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Learner, Tom, Gunnar Heydenreich, Aviva Burnstock, Klaas Jan van den Berg, Matthijs de Keijzer, Jay Krueger, Alberto de Tagle et Klaas Jan van den Berg. Issues in Contemporary Oil Paint. Springer, 2016.
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Learner, Tom, Aviva Burnstock, Matthijs de Keijzer, Jay Krueger et Alberto de Tagle. Issues in Contemporary Oil Paint. Springer, 2014.
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Learner, Tom, Gunnar Heydenreich, Aviva Burnstock, Klaas Jan van den Berg, Matthijs de Keijzer, Jay Krueger et Alberto de Tagle. Issues in Contemporary Oil Paint. Springer, 2014.
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Gordon, Deborah. No Standard Oil. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190069476.001.0001.
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The next decade will be decisive in the fight against climate change. It will be impossible to hold the planet to a 1.5 degrees Celsius temperature rise without controlling methane and carbon dioxide emissions from the oil and gas sector. Contrary to popular belief, the world will not run out of these resources anytime soon. Instead, oil and gas are becoming more climate-intensive to supply using technologies like fracking oil and liquefying gas—even as these abundant resources continue to be used to fuel cars, heat homes, and produce consumer goods like shampoo, pajamas, and paint. Policymakers, financial investors, environmental advocates, and citizens need to understand what oils and fossil fuels are doing to our climate to inform decision-making. In No Standard Oil, Deborah Gordon shows that no two oils or gases are environmentally alike. Each has a distinct, quantifiable climate impact. While all oils and gases pollute, some are much worse for the climate than others. In clear, accessible language, Gordon explains the results of the Oil Climate Index Plus Gas (OCI+), an innovative, open-source model that estimates global oil and gas greenhouse gas emissions. Gordon identifies the oils and gases from every region of the globe—along with the specific production, processing, and refining activities—that are the most damaging to the planet and proposes innovative solutions to reduce their climate footprints. Global climate stabilization cannot afford to wait for oil and gas to run out. No Standard Oil shows how people can take immediate, practical steps to cut greenhouse gas emissions in the crucial oil and gas sector while making sustainable progress in transitioning to a carbon-free energy future.
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Curtis, Cathy. Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.001.0001.
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In 1942, at age twenty, after a vision-impaired and rebellious childhood in Richmond, Virginia, Nell Blaine decamped for New York. Operations had corrected her eyesight, and she was newly aware of modern art, so different from the literal style of her youthful drawings. In Manhattan, she met rising young artists and poets. Her life was hectic, with raucous parties in her loft, lovers of both sexes, and freelance design jobs, including a stint at the Village Voice. Initially drawn to the rigorous formalism of Piet Mondrian, she received critical praise for her jazzy abstractions. During the 1950s, she began to paint interiors and landscapes. By 1959, when the Whitney Museum purchased one of her paintings, her career was firmly established. That year, she contracted a severe form of polio on a trip to Greece; suddenly, she was a paraplegic. Undaunted, she taught herself to paint in oil with her left hand, reserving her right hand for watercolors. In her postpolio work, she achieved a freer style, expressive of the joy she found in flowers and landscapes. Living half the year in Gloucester, Massachusetts, and the other half in New York, she took special delight in painting the views from her windows and from her country garden. Critics found her new style irresistible, and she had a loyal circle of collectors; still, she struggled to earn enough money to pay the aides who made her life possible. At her side for her final twenty-nine years was her lover, painter Carolyn Harris.
Chapitres de livres sur le sujet "Oil-paint models"
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Steyn, Lise, Klaas Jan van den Berg, Maartje Stols-Witlox, Ella Hendriks et Louise Wijnberg. « Some Considerations When Cleaning Robert Ryman’s Oil Paint(ings) ». Dans Conservation of Modern Oil Paintings, 347–62. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_27.
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Zumbühl, Stefan. « The Rate of Solvent Action on Modern Oil Paint ». Dans Conservation of Modern Oil Paintings, 465–74. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_36.
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Carter, Anne, Gillian Osmond, Paula Dredge et Bruce Leary. « Zinc Oxide in Oil-Based House Paint : Insights from a Paint Chemist’s Notebook Dated 1949 ». Dans Conservation of Modern Oil Paintings, 77–85. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_5.
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Graczyk, Agata, Pauline Hélou-de La Grandière, Alan Phenix et Sigrid Mirabaud. « Oil Paint Straight from the Tube : Paint-Specific Deterioration in Works by Alexis Mérodack-Jeaneau, 1910–1913 ». Dans Conservation of Modern Oil Paintings, 229–43. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_17.
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de Groot, Jazzy, Lise Steyn, Maartje Stols-Witlox et Klaas Jan van den Berg. « Decision-Making Processes Regarding the Treatment of Modern Oil Paintings (1950s–Present) Exhibiting Paint Dripping and Oil Exudates ». Dans Conservation of Modern Oil Paintings, 373–81. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_29.
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Helwig, Kate, Jennifer Poulin et Patrick Gauthier. « A Study of Softening and Liquefying Oil Paint on Womenizer by Alex Janvier ». Dans Conservation of Modern Oil Paintings, 309–24. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_24.
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Pause, Rika, Johan G. Neevel et Klaas Jan van den Berg. « Synthetic Organic Pigments in Talens Oil Paint 1920–1950 – The Case of Vermillion imit ». Dans Conservation of Modern Oil Paintings, 109–18. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_8.
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Hintz, Mirjam, Klaas Jan van den Berg, Maartje Stols-Witlox et Lise Steyn. « Improving the Surface Cleaning of Water Sensitive Oil Paint by Use of Alternative Application Methods ». Dans Conservation of Modern Oil Paintings, 575–86. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_43.
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Andersen, Cecil Krarup, Ashley Freeman, Martin Nordvig Mortensen, Vincent Beltran, Michał Łukomski et Alan Phenix. « Mechanical and Moisture Sorption Properties of Commercial Artists’ Oil Paint by Dynamic Mechanical Thermal Analysis (DMA), Nanoindentation, and Dynamic Vapour Sorption (DVS) ». Dans Conservation of Modern Oil Paintings, 403–18. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_32.
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Nevin, A. « Paints and Binding Media ». Dans Conservation Science : Heritage Materials, 291–330. 2e éd. The Royal Society of Chemistry, 2021. http://dx.doi.org/10.1039/bk9781788010931-00291.
Texte intégralRésumé :
The analysis of binding media in paint is contextualised, and key approaches for the study of media including proteinaceous, lipidic and synthetic polymers used in painting are given. The structure and chemistry of commonly found binding media are reviewed. Examples of analytical strategies for the identification of media based on highly effective Fourier Transform Infrared (FTIR) vibrational spectroscopy and Gas Chromatography/Mass Spectrometry are illustrated for protein and oil-based media. Case studies highlight applications of proteomic analysis to the identification of egg from archaeological wall paintings, the stratigraphic analysis of binding media using synchrotron-based micro-FTIR and FTIR mapping of paint cross-sections, and the analysis of complex oils and modern materials in 20th C. paintings. Advantages, limitations and future trends are described for the analysis of paint, with reference to the degradation of organic media and sample limitations with key texts for further reading provided.
Actes de conférences sur le sujet "Oil-paint models"
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Reischke, A., M. Jung, P. Breuhaus, J. Molin et S. Hess. « Numerical and Experimental Investigation of an Aerodynamically High-Loaded Axial Boiler Fan ». Dans ASME Turbo Expo 2000 : Power for Land, Sea, and Air. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/2000-gt-0498.
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In a common project ABB Fläkt Industri AB, Sweden, and ABB Turbo Systems Ltd., Switzerland, developed a Q3D design system for low Mach number axial fans. In order to validate the Q3D-calculations and the customized loss correlation, the flow field of an industrial high-pressure boiler fan was investigated experimentally. The examined single stage fan is equipped with hydraulically adjustable rotor blades, non-profiled guide vanes and an annular diffuser. Varying the stagger angle between 34° and 76° allows operating the fan over a wide range of volume flows. Experiments and calculations cover the entire stable operating range. Flow field traverses by means of hot film anemometry and pneumatic total pressure Kiel probes at different sections within the rotor/vane configuration, combined with axially and tangentially distributed static pressures tabs and fix mounted Kiel probes, allowed a deep insight in the flow behavior. The fast response capability of the hot film anemometry was used to measure the flow field downstream of the rotor in detail. Additionally, flow field visualizations inside the guide vane channel based upon a TiO4/Oil-paint technique completed the experimental fan investigation. The Q3D system is based on coupling the Euler codes MISES (S1) and MTFlow (S2), both developed at MIT. Loss models were implemented to account for profile losses, leakage losses and endwall losses. Near wall viscous effects are considered by boundary layer modeling. The investigations show that the S1/S2 Euler solvers behave well even in case of Mach numbers below 0.03. S1 convergence problems arise for off-design cases because of unfavorable incidence angles. The fully automated Q3D systems allows calculating fan performance charts with low turnaround time in good agreement with the measurement.
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Rajkumar, Yeshwanthraj, Soroor Karimi et Siamack A. Shirazi. « Investigation of Particle Size Effects on Solid Particle Erosion of Elbows in Series for Liquid-Solid Flows ». Dans ASME 2021 Fluids Engineering Division Summer Meeting. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/fedsm2021-65875.
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Abstract The entrainment of solid particles within the produced fluids can cause solid particle erosion by impacting the piping of production and transportation facilities. Liquid dominated flows are commonly encountered in deep water subsea pipelines while producing oil and gas fluids. It is of great importance to predict the erosion pattern and magnitude for elbows in series in liquid-solid flows as in the oil and gas productions, liquids tends to produce more solid particles compared to gas-solid flows. In the current work, erosion of elbows in series for different particle sizes are investigated by using computational fluid dynamics (CFD) and compare the erosion pattern results with the results of paint removal experiments using a 76.2 mm diameter acrylic elbows, qualitatively. CFD simulations have been performed to study the particle size effects on erosion using Reynolds stress turbulence model (RSM) and Low-Reynolds number K-ε model. Grid refinement studies have been performed and particles are rebounded at the particle radius to accurately examine the effects of particle sizes on solid particle erosion of these elbows. The CFD results shows that significant erosion is observed at the inner wall of the first elbow for larger particles, and the maximum erosion can be seen towards the end of the second elbow for 300 μm particle size.
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Roy Chowdhury, Ashabikash, Matthew Forshaw, Narender Atwal, Matthias Gatzen, Salman Habib et Jonathan Afolabi. « Innovative Approach of Drilling Risk Identification and Mitigation Using Drilling Automation Services : Case Studies ». Dans SPE Middle East Oil & Gas Show and Conference. SPE, 2021. http://dx.doi.org/10.2118/204723-ms.
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Abstract In the increasingly complex and cost sensitive drilling environment of today, data gathered using downhole and surface real-time sensor systems must work in unison with physics-based models to facilitate early indication of drilling hazards, allowing timely action and mitigation. Identification of opportunities for reduction of invisible lost time (ILT) is similarly critical. Many similar systems gather and analyze either surface or downhole data on a standalone basis but lack the integrated approach towards using the data in a holistic decision-making manner. These systems can either paint an incomplete picture of prevailing drilling conditions or fail to ensure system messages result in parameter changes at rigsite. This often results in a hit or miss approach in identification and mitigation of drilling problems. The automated software system architecture is described, detailing the physics-based models which are deployed in real-time consuming surface and downhole sensor data and outputting continuous, operationally relevant simulation results. Measured data from either surface, for torque & drag, or downhole for ECD & ESD is then automatically compared both for deviation of actual-to-plan, and for infringement of boundary conditions such as formation pressure regime. The system is also equipped to model off-bottom induced pressures; swab & surge, and dynamically advise on safe, but optimum tripping velocities for the operation at hand. This has dual benefits; both the avoidance of costly NPT associated with swab & surge, as well as being able to visually highlight running speed ILT. All processing applications are coupled with highly intuitive user interfaces. Three successful deployments all onshore in the Middle East are detailed. First a horizontal section where real-time model vs. actual automatic comparison of torque & drag samples, validated with PWD data allowed early identification of poor hole cleaning. Secondly, a vertical section where again the model vs. actual algorithmic automatically identified inadequate hole cleaning in a case where conventional human monitoring did not. Finally, a case is exhibited where real-time modelling of swab and surge, as well as intuitive visualization of the trip speeds within those boundary conditions led to a significant increase in average tripping speeds when compared to offset wells, reducing AFE for the operator. Common for all three deployments was an integrated well services approach, with a single service company providing the majority of services for well construction, as well as an overarching remote operations team who were primary users of the software solutions deployed.
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Marcattili, Letizia, et Maria Canavan. « Retouching a Retouched Painting : Evaluation and re-treatment of historic retouchings in the conservation of a painting by Lavinia Fontana ». Dans RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València : Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13544.
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A major conservation and research project on The Visit of the Queen of Sheba to King Solomon by Lavinia Fontana was completed at the National Gallery of Ireland in Dublin in 2021. The painting, a large-scale oil on canvas (256 x 325 cm), was one of a number of pictures restored in the late 1960s by a team of conservators from the Istituto Centrale del Restauro in Rome, who came to Dublin during the establishment of the first conservation studio at the Gallery. The visiting restorers brought novel ideas and materials with them from the Istituto that would shape the Irish approach to conservation for decades to come. The prevailing ethos at the time in Italy was based on a minimal intervention approach with the use of novel, synthetic materials that had not yet been introduced to the collection of the National Gallery of Ireland. The painting, after treatment by the Istituto team, recorded material evidence of a particular moment in the development of conservation in Italy and Ireland. Large areas of historic loss and damage across the surface of the painting had been reintegrated by the Italian restorers with the application of retouchings in the tratteggio style, also known as rigatino, using a Paraloid-based medium. In some cases, portraits and other significant details in the image were fully reconstructed by the retouchings. Underlying instability required the removal of some of these retouchings during the most recent treatment, but others could be retained if desired. With the help of archival images and documentation, a decision-making model was developed to evaluate the quality and historic value of these retouchings and to determine which to preserve, which to modify and which to remove. Reduction of retouchings often necessitates replacement, and the partial preservation of the historic retouchings brought further factors to bear on the decision-making model for the chromatic reintegration of the painting. A return to the tratteggio technique was chosen for the larger instances of loss compensation in the treatment, albeit with a finer hatching so that the newer reintegration remains distinguishable from the historic one. This was complemented with a pointillist technique over textured fillings for smaller and shallower losses. Furthermore, where blistering and heat damage in the paint layers resulted in uneven topography, a third auxiliary technique was used. The desired texture was found when testing Paraloid-based gels on a mock-up and applied to bring continuity the surface texture in these areas of the painting. With this approach we intend to meet the conservation needs of the object, restore the legibility of the image and retain the evidence of the historic intervention of this founding team of Italian restorers at the National Gallery of Ireland.