Academic literature on the topic 'Animated decoration'

To improve on our previously proposed but problem-plagued innovation for generating animated and illustrated Quick Response (QR) codes, this paper proposes a method which formulates the animated QR code generation problem as an optimization problem rather than as a set of still QR code decoration problems. The proposed method also uses optimization operators designed for this problem and quality evaluation to maintain natural, smooth movement. Experiments demonstrate that the proposed method can generate animated QR codes involve a maximum of eight illustrations moving inside the code which maintaining decoding feasibility and smooth illustration movement.<FONT color="red" size="3">Erratum<br /></FONT> <FONT color="red" size="2">Due to a wrong manipulation during the correction of the proofs of the above paper, the running head title (short title) was incorrect. The correct running head title should have read as "Animated Two–Dimensional Barcode Generation."</FONT>

Working memory is critical for learning but has a limited capacity for processing new information in real time. Cognitive load theory is an evidence-based approach to education that seeks to minimize the extraneous (unnecessary) load on working memory to avoid overloading it. The “seductive details effect” postulates that extraneous load can come from instructional design materials that attract interest but are unrelated to, and impair, learning. Presentation packages, such as Microsoft PowerPoint, have built-in decorative animated “GIFs” that are designed to make presentations more visually appealing. The aim of the study was to investigate the effect of such “decorative” animations on learning and working memory performance. We found that students were less able to recall content presented in the presence of a decorative but relevant animation compared with a still image. This effect was found with two different topics (human physiology and enzyme kinetics). Compared with still images, students also found it harder to remember animations themselves, and the self-reported mental workload required to remember them was higher. These results show that decorative animations are seductive details and are thus a source of extraneous cognitive load.

The article analyses the illuminations of two incunables which are housed in the monastery of St Francis at Šibenik. The front page of the incunable of John Duns Scotus’ Scriptum in quattuor libros Sententiarum Petri Lombardi (Johannes de Colonia et Johannes Manthen, Venice, 1477) is decorated with high-quality figural and phytomorphic illuminations. In the corners of the decorative frame in the upper margin are the figures of a heronand a monkey. Vertical sections of the frame are filled with flowers, leaves and berries in the colour blue, green and cyclamen pink and with numerous stylized golden burdock flowers (Arctium). The central part of the frame in the upper and lower margin is filled with dense, symmetrically placed thick leaves in the colour blue, green, purple and cyclamen pink with a stylized golden burdockflower (Arctium) appearing here and there. In the centre of the page is a crest composed of two fields separated by a horizontal line; the upper on is red and the lower one white. Two winged putti are set in the corners andthey hold red ribbons. Each wears a necklace made of red corals and classical sandals on their feet. They landscape around them is arid and there is only one tree, its bark dry, standing in it. The rocky ground with jagged edges is covered in small stones. The distinctly painted winged putti, the depiction of the landscape and the dense vegetal decoration filling the frame in the upper and lower margin demonstrate noticeable similarities with the works of Giovanni Vendramin, a prominent representative of Paduan Renaissance miniature. Thefront page of the aforementioned incunable at Šibenik can be attributed to him; he may well have been helped by his workshop and collaborators. First and foremost, it ought to be mentioned that the decorative frame on one of the opening pages (c. 4v) in an Antiphonary at Ferrara features identical type of leaf decoration as the one that fills the upper and lower margin in the incunable at Šibenik. Here too, the playful putti wear classical sandals and necklaces made of red coral. Furthermore, putti with identical physiohnomies – wearing coral necklaces and classical sandals while holding ribbons in their hands – can be found on fol. 2r in the incunable of Marcus Tullius Cicero’s Orationes (Venice, Christophorus Valdarfer, 1471, Philadelphia, The Rosenbach Museum and Library, Inc 471ci). The landscape in which the putti are depictedis also arid and marked by a single dry tree rising from the ground covered with small stones. Identical putti can be seen on the cover of the incunable of Marcus Tullius Cicero’s, Tusculanae Quaestiones (Venice, N. Jenson, 1472, London, British Library, C.1c.10, fol. 1). The landscape is also depicted in the same way. An excellent comparative example can be found in the winged putti standing on an all’antica structure on the cover of the manuscript of Jacopo Camphora’s, De immortalitate animae (London, Brittish Library, MS Add. 22325) which is decorated with architectural forms. The left and the upper margins of the opening pages of Book I and Book III of Gaius Julius Caesar’s Commentariorvm de bello Gallico (Milan, Antonius Zarotus, 1477) are decorated with frames filled with white vine scrolls on red, green and blue background with white dots. The decoration extends beyond the ornamental frames and reaches into the gold initials G and C. Although the decorative frames were not completely finished, it can be ascertained that they were made with great skill and are of high quality. This frame type was frequently used by Giovanni Vendramin and the examples from Šibenik are very close to some of his works, especially those made for Jacopo Zeno, the Bishop of Padua (Padua, Biblioteca Capitolare).

Two small nude horsemen located in the armorial decoration of Donatello's Gattamelata yield new insights about the use of Greek sources in Renaissance art. Here it is speculated that Donatello was informed by a drawing or carved gemstone provided by Ciriaco d'Ancona that represented riders in the Panathenaic frieze on the Parthenon. Donatello may have included the figures as a learned reference to delight a circle of intellectuals in Padua, including Ciriaco and Francesco Barbaro, who wrote dedicatory texts for the monument. It is subsequently argued that Leon Battista Alberti's treatise De equo animante (ca. 1444-47) and Donatello's Gattamelata appear to have been mutually influential.

This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.

Background and context: Neuroendocrine tumor (NET) is difficult to detect. It's often presented with symptoms common to other diseases. To raise awareness and improve the understanding of NET, the International Neuroendocrine Cancer Alliance (INCA) announced 10th November as the World NET Cancer Day. HOPE FOUNDATION for CANCER CARE has joined the advocacy events since 2011. Aim: To raise awareness and to improve the understanding of NET. Strategy/Tactics: To raise the awareness of the 10 symptoms of NET. To provide correct information about NET. To improve the understanding of NET. Program/Policy process: We held a series of campaigns in November 2017, including: theme decorations in 11 hospitals, 3 parades and shows at public places, a new animation with online marketing and outdoor advertising. By combining online and offline events, we have reached as many people as possible to increase the awareness and improve the knowledge of NET. We built the first as well as the only NET Mandarin Web site ( www.net.org.tw ) Outcomes: We cooperated with 11 hospitals in Taiwan to display educational posters and wall stickers. The information of NET cancers not only reached the public but also oncologists. This event had 3 newspaper reports and 16 online news reports. We conducted 3 educational parades and shows with zebra theme in three main cities in Taiwan. The parade in capital city Taipei gained total 86 reports including 71 online news media, 8 television channels and 7 newspapers. We cooperated with a celebrity artist to create a zebra mascot, which represents international symbol for NET. In addition, we created awareness lightbox advertising and animated video with the mascot to attract public attention and raise awareness of NET. This animated video was published on YouTube platform, and had 504,209 impressions and 208,427 views by 31st December 2017. Moreover, it was broadcasted on taxis in Taiwan as well. It was broadcasted 1,163,248 times during the promotion period. We also implemented an online advocacy plan through Facebook. This plan was designed with 4 posts, which contained a comic strip, an online memory game, a profile picture frame and an animated video. This plan totally had 332,625 impressions and reached 154,089 people on the Internet. What was learned: According to our experience with cancer patients, we realize that utilizing mascot characters to deliver educational information is more easily perceived by the public. This year we designed a new mascot of NET which was applied to animated video and outdoor advertising. Also, we conducted 3 educational parades with zebra theme and traditional Taiwanese features, which opened up a new dimension in advocacy for cancer awareness. Overall, these events received good response from the public and oncologists. The NET Mandarin Web site also showed a significant result with an increase of 98% of monthly page views and 69.7% of new visitors views.

The bond between a driver and his truck has been the subject of many famous films. If not actual adoration of the vehicle, it certainly is the destiny shared between a living human and a running machine, both heading for a common destination. Who and what else can replace this bond? Here, we see the truck bearing decorations, bumper sticks, script, and pictures of animate and inanimate objects all reflecting the taste and psyche of the driver. This study aims to introduce a thematic analysis into this picturesque look of over a thousand trucks with specific focus on scripts borne by trailers based on the assumption that content of scripts would be representing inner worlds of truck drivers. Photographed as well as internet-based data related to vehicles provided the source for this study. Scripts were thematised, and categorized observing nationality of origin of license plates. With its findings, the study yields valuable results regarding values and beliefs truck drivers of different nationalities hold to themselves. A variety of psychological profiles, harboring feelings such as sadness, joy, dejection, rejection, love, disappointments, anger, vengeance, etc., all expressed through scripts was also surfaced in this study.

Along the coast of the island of Java, there is a wealth of craft art (batik), characterized by its expression of decorative motifs and techniques. In general, the most prominent characteristic of the dominance of primary and secondary colors. Courage in expressing bright colors is also the visual identity of coastal batik. In West Java, Cirebon is one of the popular coastal batik cities. Several villages have become centers for batik crafts, including Ciwaringin Village. The batik that is developed in this village has the characteristics of Cirebon which was born and developed in line with Trusmi batik. Ciwaringin batik is unique in terms of coloring and decorative motifs when compared to Trusmi batik. In terms of typical Ciwaringin coloring is produced by natural dyes (natural dyes), a batik tradition that has long developed in the Cirebon Pesisiran batik culture. This study uses descriptive-qualitative methods with aesthetic and semiotic approaches to reveal the aesthetics and meaning of ornamentation in Batik Ciwaringin. One of the important findings in this study is that in Ciwaringin batik there is no expression of animate motives, which differentiates it from batik motifs in general because Ciwaringin batik was born from the Islamic boarding school community with strong Islamic values. Another finding is that Ciwaringin batik craftsmen transform nature not only as a source of philosophical ideas, but they also care about environmental issues. Concern for the environment is proven by developing coloring techniques using natural dyes (natural dyes) and avoiding synthetic (chemical) dyes.

The concept of Fine Language is the result of the creation of a long research, originally in the form of a researchreport on the science of Fine Language which later developed into dissertation research as much and as thick as 'onecoffin' (58x33x37cm). This Fine Language is a way of 'reading' pictures, from various images, pictures of children,prehistoric cave pictures, wayang beber pictures, then to symbolic images, decorative images and shadow images fromshadow puppets (wayang kulit). Also included are temple relief images and modern drawings, animated images, filmsand pictures produced by other digital technologies, such as ad images. The word language is different from the imagelanguage. In the image language, we can already describe the shape of the drawn. In the word language, use the word torepresent an object that is drawn. Often experience miscommunication because with various words (from different regions/tribes/countries) to describe an object. In the language of the image there are wimbas, in the wimba there is thecontent of wimba and way of wimba. The content of the wimba is a picture contained in the wimba, and the way thewimba is how the wimba is drawn and can be told. Through the 'science' is the original image that is beginning to beunderstood and retold as teaching materials or materials of scientific art for future studies, about the image of traditionsand modern drawings.

Cette thèse se concentre sur l’iconographie des céramiques polychromes à pâte argileuse jaunâtre, connues sous le nom de buff ware et attribuées à Nishapur aux IXe-Xe siècles. Ces céramiques ont la particularité d’être décorées par des scènes à figures humaines, animales et d‘oiseaux souvent sur un fond jaune vif, peintes de couleurs vertes et noires et parfois rouges. Depuis leur découverte en 1935, l’iconographie de ces scènes est restée un sujet de débat parmi les chercheurs, sans réponse définitive. Cette recherche vise à apporter un regard complémentaire sur cette production originale de céramiques d’Iran oriental. Le but de cette étude est de revisiter les questions et les réponses existantes, et aussi d’aborder de nouvelles hypothèses. Les questions comprennent la connaissance, la production et l’iconographie de ces céramiques. La première partie de cette étude expose l’histoire et les différents aspects géographiques et socioculturels de la ville médiévale de Nishapur. Dans la deuxième partie sont étudiées la production, la distribution, la chronologie et la morphologie de ces céramiques afin de définir leurs caractéristiques. La troisième partie est consacrée à l’identification des scènes représentées sur les céramiques polychromes de Nishapur et à l’analyse de leur iconographie. Y sont proposées plusieurs hypothèses sur l’iconographie des scènes liée à la mythologie persane, aux traditions, aux légendes, aux croyances et aux rituels. Cette recherche est basée sur une étude approfondie de 30 céramiques principales, 139 céramiques complémentaires et 35 objets de comparaison, représentés dans un catalogue de trois corpus<br>This dissertation focuses on the iconography of polychrome ceramics having a buff body, known as buff wares and attributed to Nishapur in the 9th-10th centuries. These ceramics were decorated with scenes of human, animal and bird figures, often on a bright yellow background and painted in green, black and sometimes red. Since their discovery in 1935, the iconography of these scenes has remained a subject of research with no definitive result. The research aims to provide a complementary fresh look at this original ceramic production of eastern Iran. The intention of this study is to revise the existing questions and answers, and to approach new hypothesis. The questions concern the characterization, the production and the iconography of these ceramics. The first part of this study exposes history and different geographical and sociocultural aspects of the medieval city of Nishapur. The second part of the study inquires the production, the distribution, the chronology and the morphology of theses ceramics. The third part focuses on the iconography of the scenes represented on Nishapur buff wares. It proposes a number of hypothesis on the iconography of the scenes related to Persian mythology, traditions, legends, beliefs and rituals. This research is based on a detailed study on 30 main wares, 139 complementary ceramics and 35 comparison objects, represented in a catalogue, which is completed by detailed drawings of the ceramics

Between the last years of the 1890s and roughly 1929 when full talkies arrived, films were generally a combination of picture and title cards, or intertitles, which began to be used in the early 1900s. As the film trade was international in nature from its earliest days, intertitles needed to be translated. This chapter offers a brief chronology of the intertitle in film, highlighting the difficulties of translating and adapting title cards with decorative backgrounds and sophisticated animated sequences, either at the time the films were made or today for restoration. It also provides three case studies based on restoration projects conducted at the British Film Institute, showing how language and translation issues play their part in the complex reconstruction process.