Relevant bibliographies by topics / Art Painting Composition (Art)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art Painting Composition (Art)'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Art Painting Composition (Art)"

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Doluda, A. О., O. S. Puklich, T. S. Romanenko, and O. S. Drobysheva. "FORENSIC FINE ART RESEARCH OF PAINTINGS." Theory and Practice of Forensic Science and Criminalistics 18 (December 26, 2018): 534–42. http://dx.doi.org/10.32353/khrife.2018.62.

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The features of performing and the main directions of research on objects of forensic fine art examination, namely works of painting. It is noted that according to the performance technique, the painting is divided into oil, tempera, watercolor and encaustic painting (wax as a binder of paints). Proved the need to know the expert of the painting technology. It is important to distinguish the materials that served as the basis, since each of them has its own composition, structure and features, which tells on their properties, and this, in turn, affects the character and condition of all components of painting and, in particular, the colorful layer as the most defining feature. Different types of craquelure and its origin are considered. It is indicated that craquelure is formed under the action of various factors, and therefore it differs both in form, location-oriented disposition, and formation method.The criteria for determining the composition creation time and its authenticity are defined. It is noted that craquelure is one of painting authenticity features, therefore, on non-authentic composition, in order to pass them off as genuine, craquelure is formed by means of mechanical action that is fairly easy to recognize, or by means of painting technology violating. Considered the need for comprehensive research. It is proved that correspondence of an handwriting to the author handwriting in the signature is one of the most important features of composition authenticity which is determined according to the methods of forensic handwriting researches by the relevant specialists and it is performed as a comprehensive fine art and handwriting examination. Another of the most important authenticity features is the correspondence of the chemical composition of coloring pigments and their origin to the time of applicability and time of composition creation which is determined with the involvement of the appropriate specialists in while performing a comprehensive forensic fine art and chemical examination.
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Locher, Paul, and Yvonne Nagy. "Vision Spontaneously Establishes the Percept of Pictorial Balance." Empirical Studies of the Arts 14, no. 1 (1996): 17–31. http://dx.doi.org/10.2190/x8u3-ctq6-a7j1-8jq8.

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The present experiment sought empirical evidence that pictorial balance can be detected spontaneously with the first glance at a painting. Stimuli consisted of color and black-and-white reproductions or adaptations of structurally balanced paintings and one or more reconstructed less balanced versions of each work of art. Art-trained and untrained subjects rated the compositions for balance on a 6-point Likert scale after presentation durations which permitted either a single fixation (100 ms) or multiple fixations (5 s). The results show that both naive and sophisticated participants discriminated the less balanced from the more balanced versions of the black-and-white paintings with a single glance at each. They were also able to discern differences in balance among the color stimuli in the single fixation condition, but not the subtle differences in balance between the two versions of each painting. Subjects' assessment of a composition's balance based on stimulus information encoded with one fixation did not significantly change when exposure duration permitted multiple fixations of that composition. Data are consistent with the view that the induced structural organization resulting from the balanced configuration of a painting's element is detected spontaneously by the eye “at first glance.”
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Schmitter, Monika. "TheQuadro da Portegoin Sixteenth-Century Venetian Art*." Renaissance Quarterly 64, no. 3 (2011): 693–751. http://dx.doi.org/10.1086/662848.

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AbstractDuring the sixteenth century a symbiotic relationship developed between the form, use, and symbolic associations of the Venetian portego, the central reception and entertainment hall of Venetian palaces, and the paintings that were increasingly commissioned to ornament these spaces. The intended placement of the paintings affected their size, format, composition, subject matter, and contemporary interpretation. At the same time, the works of art themselves reflected upon and helped to define the social meanings of the space and the activities taking place there. Analyzing documentary sources and surviving paintings reveals the degree to which we can speak of thequadro da portegoas a distinctive type of Venetian painting.
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Gang, Liang, and Gao Weishang. "The Effectiveness of Pictorial Aesthetics Based on Multiview Parallel Neural Networks in Art-Oriented Teaching." Computational Intelligence and Neuroscience 2021 (August 23, 2021): 1–14. http://dx.doi.org/10.1155/2021/3735104.

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How to effectively improve the effectiveness of art teaching has always been one of the hot topics concerned by all sectors of society. Especially, in art teaching, situational interaction helps improve the atmosphere of art class. However, there are few attempts to quantitatively evaluate the aesthetics of ink painting. Ink painting expresses images through ink tone and stroke changes, which is significantly different from photos and paintings in visual characteristics, semantic characteristics, and aesthetic standards. For this reason, this study proposes an adaptive computational aesthetic evaluation framework for ink painting based on situational interaction using deep learning techniques. The framework extracts global and local images as multiple input according to the aesthetic criteria of ink painting and designs a model named MVPD-CNN to extract deep aesthetic features; finally, an adaptive deep aesthetic evaluation model is constructed. The experimental results demonstrate that our model has higher aesthetic evaluation performance compared with baseline, and the extracted deep aesthetic features are significantly better than the traditional manual design features, and its adaptive evaluation results reach a Pearson height of 0.823 compared with the manual aesthetic. In addition, art classroom simulation and interference experiments show that our model is highly resistant to interference and more sensitive to the three painting elements of composition, ink color, and texture in specific compositions.
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Abdelbaky, Fayrouz Samir. "Cityscape as an Inspiration for Contemporary Painting." Academic Research Community publication 1, no. 1 (2017): 10. http://dx.doi.org/10.21625/archive.v1i1.106.

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Cityscape painting or Urban Landscape Painting is an art that depends on city scenes and their elements such as streets, buildings, types, composition and other city elements. This kind of art considers cities as a source of inspiration, because it reflects all the different sides of the cities like its identity, ancientness, modernity, size, density, interstitial space built forms, and of course the architectural design. Moreover, this research is concerned with this form of art that reflects all the differences between the artists’ technical trends and the artistic visions of each one separately. This will be discussed given the interest to find the mutual effective relationship between the artist and the city through an analytical comparison between different examples of paintings that dealt with cities as a subject.
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Hong Mei. "Composition Performance Characteristics of the Digital CG Painting Art." International Journal of Advancements in Computing Technology 5, no. 2 (2013): 554–62. http://dx.doi.org/10.4156/ijact.vol5.issue2.69.

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Firstov, Valeriy, Victor Firstov, Alexander Voloshinov, and Paul Locher. "The Colorimetric Barycenter of Paintings." Empirical Studies of the Arts 25, no. 2 (2007): 209–17. http://dx.doi.org/10.2190/10t0-2378-0583-73q4.

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The locations of the colorimetric barycenter or “center of gravity” of the pictorial fields of paintings were compared graphically with the geometric centers of the art works. The art stimuli consisted of reproductions of 1332 paintings of different compositional genres created by renowned Russian artists. It was observed that artists' manipulation of a color palette and their spatial control of color within a composition resulted in the location of the colorimetric barycenter of a painting corresponding closely to its geometric center for both representational and abstract paintings. This finding demonstrates the power of the center of a pictorial field to function as a balancing point about which artists exert spatial control of color among all of the compositional colors and the areas they occupy within a pictorial field.
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Jankowska-Andrzejewska, Maria. "Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności"." Artium Quaestiones, no. 27 (September 8, 2018): 197–247. http://dx.doi.org/10.14746/aq.2016.27.8.

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The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces.
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Mohammed Alashari, Duaa, Abd Rahman Hamzah, and Nurazmallail Marni. "The Journey of Islamic Art Through Traditional and Contemporary Calligraphy Painting." UMRAN - International Journal of Islamic and Civilizational Studies 7, no. 3 (2020): 1–11. http://dx.doi.org/10.11113/umran2020.7n3.408.

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Islamic Art is considered as historical art and it is famous all over the Islamic world. The Islamic calligraphy art started around the time of the revelation of al-Quran. Islamic calligraphy art was famous for adorning the interior and exterior aspects of mosques and some famous Islamic buildings. The aim of this article is to highlight and study the traditional and contemporary Islamic calligraphy painting by well-known calligraphers. Calligraphers have been inspired by the Arabic language and they are expressing this language as a kind of unique art through traditional and contemporary painting. Indeed, this paper will provide a brief history of calligraphy art. Islamic calligraphy painting is expressed in a variety of styles and there are also different modes of traditional Arabic styles of writing. Islamic Calligraphers appreciate this sacred and spiritual art and as they carried on their journey, they began to create their art by adding some inspirational verses of the Quran as well as some historical poems. The most noticeable visible feature related to Islamic calligraphy traditional and contemporary painting has to do with the complex and intricate compositions that involve the overlapping of words integrated into a unique method. Islamic calligraphy painting, through either a traditional or a contemporary method, expresses movement and dynamism through the calligraphic lines. The study reveals that the traditional and contemporary calligraphy paintings are considered as innovative art based on their unique traditional scripts, the intricate contemporary identity of the handwriting and the materials. Calligraphers expressed their artistry, and their ability and creativity by applying the sacred language to create a fabulous and unique tradition which is referred to as contemporary calligraphy painting.
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Shawin, Mohammad Ferdous Khan. "Rural Life of Bangladesh Reflected in Hashem Khan’s Painting." Idealogy Journal 6, no. 2 (2021): 28–34. http://dx.doi.org/10.24191/idealogy.v6i2.290.

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Hashem Khan is considered as one of the key figures in Bangladesh art scenario. Born in Chandpur, Hashem Khan was graduated from the Faculty of Fine Art, Dhaka University in 1961. He was a Professor at the Faculty of Fine Art, University of Dhaka with 44-year experience and retired in the year 2007. He has achieved Ekushey Padak and Independence Day Award (The highest civilian award in Bangladesh) for his significant contributions in art and culture. Rural lifestyle is very unique in Bangladesh. Many poets, musicians, visual artists have taken inspiration from rural culture and life style of Bangladesh. His works reproduce the natural beauty of the village, rural life, and plenty of other things. He has used traditional folk colours like yellow, orange and green in his paintings and used folk motifs. Hashem Khan has done semi-realistic style of narration to communicate to the common people and also used vibrant colours in his paintings. The researcher here has selected the works of the artist for discussion and analysis from the exhibitions which were held from 1980 to 2018 in different art galleries in Dhaka, the capital of Bangladesh and also from two catalogues, which articulate 143 plates. The researcher has analysed his contents of the paintings. Besides the researcher also closely analysed the colours, composition and forms of the painting.
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Dissertations / Theses on the topic "Art Painting Composition (Art)"

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Forster, Lisa Elizabeth. "Searching /." Online version of thesis, 1987. http://hdl.handle.net/1850/8838.

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Groscost, Donald. "Music and art : an analogical approach /." Online version of thesis, 1987. http://hdl.handle.net/1850/10432.

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Morgan, David. "The origin and use of compositional geometry in Christian painting /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68125.

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Painters of Christian subjects in the late Middle Ages and early Renaissance developed a complex system of geometry which they used to order the various elements in the image. They did this because they were convinced that the aesthetic dimension of their work resided in the structure of the work. More specifically, the artists of the late Middle Ages and the Renaissance believed that the particular aesthetic experience which geometric compositional structure provides corresponded to Christian mystical experience. Thus a work of art that combined geometric structure, naturalistic style, and Christian imagery could provide an experience analogous to that of Christian revelation. This paper traces the development of this idea from its origin in the Old Testament tradition, its formalization in Greek thought and its full flowering in early Christian painting.
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Howard, Rebecca Marie. "Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.

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Mauney, Nancy Jewell. "An architecture of impressionism : an abstraction of the principles of impressionistic painting into a set of principles of impressionist architecture." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23423.

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Philbrick, Gregory Eric. "Color Relationship Transfer for Digital Painting." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5552.

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A digital painter uses reference photography to add realism to a scene. This involves making n colors in a painting relate to each other more like n corresponding colors in a photograph, in terms of value and temperature. Doing this manually requires either experience or tedious experimentation. Color relationship transfer performs the task automatically, recoloring n regions of a painting so they relate in value and temperature more like n corresponding regions of a photograph. Relationship transfer also has applications in computational photography. In fact, it introduces a new paradigm for image editing in general, based on treating an image's fundamental relationships.
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DuCharme, Ann Case. "“The Critical Zone”: Compositional Elements of Communication in Makoto Fujimura’s Painting, 1994–2006." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179321075.

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Müller, Axel. "Im Rahmen des Möglichen : Studien zur Bild- und Raumkonzeption der Malerei des 19. und 20. Jahrhunderts /." Hildesheim : G. Olms, 1990. http://catalogue.bnf.fr/ark:/12148/cb35707754t.

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Mazet, Zaccardelli Cédric. "De la composition classique au montage organique : éloge de l'attitude moderne." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H315.

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Toute une théorie classique de l’art a défini la composition picturale en prenant ses concepts à la tradition rhétorique. Ainsi le travail du peintre rassemble-t-il à ses yeux, pour commencer, deux opérations dont Cicéron avait déjà en son temps donné les noms pour l'art du discours : l’invention, qui sélectionne au sein d’une sorte de réserve les éléments convenant au sujet à présenter, puis la disposition, qui se charge d’organiser avantageusement ces éléments selon les règles d’une économie. Sous le nom de «montage», une large part de la fabrique artistique contemporaine, qu’il s’agisse de photographie, de cinéma ou de littérature, reconduit de fait aujourd’hui ces principes de procédure. Ils ne sont pourtant pas indépassables. Penser le montage sans s’expliquer avec la notion classique de composition, c’est finalement oublier ce qui a, un temps, animé l’art qu’on peut dire «moderne». Prenant en compte cette situation, étudiant des œuvres qui se sont effectuées en dépit de la méthode défendue par les classiques, cette thèse entend critiquer le désir de maîtriser des objets sous l’autorité d’une idée à transmettre et soutient la notion d’un montage qui, se soustrayant à l’«édifice» (Ishaghpour) ou au «texte» (Rancière), ne se trouve pas par eux modéré dans son opération. Il est en conséquence possible d’entendre les concepts d’invention et de disposition autrement que les classiques ou, en d’autres termes, d’en changer le mode. Cela se fait par glissements notionnels successifs, parmi lesquels celui de l’apparence à l’aspect, de la maîtrise à l’exercice, de l’application à la découverte, etc. On repère ainsi des enjeux de pensée et de conduite qui dépassent finalement le seul motif du montage<br>An entire classical theory of art has defined pictorial composition by taking its concepts from the rhetorical tradition. Thus the work of the painter brings together, to his eyes, two activities that Cicero, in his time, had already given the names for the art of discussion: invention, which selects from a kind of inventory the appropriate elements for the subject to present, and then the disposition, which is responsible for the favorable organization of these elements according to the rules of an economy. Today, under the name "montage", a large part of the contemporary artistic fabric, whether it be photography, cinema or literature, follows these procedural principles. They are not, however, unsurpassable. To think of montage without taking into consideration the classical notion of composition is, finally, to forget what at one time animated the art that we can call modern. Taking into account this situation and studying works of art that have been done in spite of the methods defended by the classics, this thesis intends to critique the desire to master objects under the authority of an idea to transmit and support the notion of a montage that, subtracting from the "edifice" (Ishaghpour), or from the "text" (Rancière), does not find itself moderated by them in its operation. It is consequently possible to understand the concepts of invention and disposition using methods other than those of the classics or, in other words, to change the way we understand them. This is done by successive shifts of notions, including from the appearance to the aspect, from the mastery to the practice or from the application to the discovery, and so forth. We thus encounter what is at stake in the thought and conduct, which finally goes beyond the only motive of montage
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Gassen, Fernanda Bulegon. "Agenciamentos de visita : notações pictóricas na fotografia de ambientes domésticos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/23971.

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A presente pesquisa, intitulada Agenciamentos de Visita: notações pictóricas na fotografia de ambientes domésticos, analisa os procedimentos de elaboração das séries fotográficas Agenciamentos de Visita para Estudos de Composição – natureza morta e Agenciamentos de Visita para Estudos de Composição – cena de gênero, abarcando as questões emergidas destas práticas. Neste contexto, as relações entre fotografia e pintura holandesa são investigadas, partindo de minha poética e articulando-a com a arte atual, a qual é referenciada pelo uso de cenas construídas para a realização das imagens. Concernente ao procedimento de trabalho, a prática de visitas veiculou a investigação do espaço da casa como reduto íntimo e como estúdio provisório.<br>The present research named Requests to Visit: pictorial notations in domestic space’s photography analyses the procedures of elaboration of the photography series Requests to visit for Composition Studies– still life and Requests to visit for Composition Studies - gender scenes, including the questions emerged from these practices. In this context, the relations between photography and Dutch painting are investigated, having as a starting point my poetic and articulating it with the recent art, which is alluded by the use of scenes made for the realization of the images. Concerning the working procedure, the visiting practice leaded to the investigation of the house’s space as being an intimate redoubt and a provisory studio.
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Books on the topic "Art Painting Composition (Art)"

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Triado, Juan-Ramon. The key to painting. Search Press, in association with, 1990.

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Wehrli, Ursus. Tidying up art. Prestel, 2003.

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A, Payne Edgar. Composition of outdoor painting. 4th ed. Payne Studios, 1985.

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Composition of outdoor painting. 5th ed. Payne Studios, 1995.

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Sternberg, Harry. Composition: The anatomy of picture making. Dover Publications, 2008.

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Composition: Lessons & exercises to develop your painting & drawing technique. Apple Press, 1994.

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Roberts, Ian. Mastering composition: Techniques and principles to dramatically improve your painting. North Light Books, 2007.

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The key to painting. Lerner Publications, 1990.

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Composition for the painter. Zack Press, 2005.

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Strengthen your paintings with dynamic composition. North Light Books, 1994.

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Book chapters on the topic "Art Painting Composition (Art)"

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Piechowski-Jozwiak, Bartlomiej, and Julien Bogousslavsky. "Painting in Neurology." In Brain and Art. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23580-2_5.

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Edwards, Jean, Helen Caldwell, and Rebecca Heaton. "Painting." In Art in the Primary School, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429296208-8.

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Zhang, Yu, and Mathias Funk. "Composition and structure." In Coding Art. Apress, 2021. http://dx.doi.org/10.1007/978-1-4842-6264-1_3.

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Tiradritti, Francesco. "Painting." In A Companion to Ancient Egyptian Art. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch13.

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Ebrey, Patricia. "Court Painting." In A Companion to Chinese Art. John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch1.

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Lorenz, Katharina. "Wall Painting." In A Companion to Roman Art. John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch13.

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Valette, Laura. "Painting Fog." In British Art and the Environment. Routledge, 2021. http://dx.doi.org/10.4324/9781003099215-4.

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Soussloff, Catherine M. "Michel Foucault and the Point of Painting." In Art History. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch5.

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Smith, Jan, and Roman Joost. "Digital Art: Painting in GIMP." In GIMP for Absolute Beginners. Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-3169-1_8.

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Hoi-chiu, Tang. "The Art of Chinese Painting." In The Routledge Encyclopedia of Traditional Chinese Culture. Routledge, 2019. http://dx.doi.org/10.4324/9781315453491-12.

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Conference papers on the topic "Art Painting Composition (Art)"

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Del Gallego, Neil Patrick, Cedric Lance Viaje, Michael Ryan Gerra-Clarin, et al. "A Mobile Augmented Reality Application For Simulating Claude Monet’s Impressionistic Art Style." In WSCG'2021 - 29. International Conference in Central Europe on Computer Graphics, Visualization and Computer Vision'2021. Západočeská univerzita, 2021. http://dx.doi.org/10.24132/csrn.2021.3002.9.

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In this study, we showcase a mobileaugmented reality application where a user places various 3D models in atabletop scene. The scene is captured and then rendered as Claude Monet’s impressionistic art style. One possibleuse case for this application is to demonstrate the behavior of the impressionistic art style of Claude Monet, byapplying this to tabletop scenes, which can be useful especially for art students. This allows the user to create theirown "still life" composition and study how the scene is painted. Our proposed framework is composed of threesteps. The system first identifies the context of the tabletop scene, through GIST descriptors, which are used asfeatures to identify the color palette to be used for painting. Our application supports three different color palettes,representing different eras of Monet’s work. The second step performs color mixing of two different colors in thechosen palette. The last step involves applying a three-stage brush stroke algorithm where the image is renderedwith a customized brush stroke pattern applied in each stage. While deep learning techniques are already capableof performing style transfer from paintings to real-world images, such as the success of CycleGAN, results showthat our proposed framework achieves comparable performance to deep learning style transfer methods on tabletopscenes.
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Carrión-Ruiz, Berta, Silvia Blanco-Pons, and Jose Luis Lerma. "DIGITAL IMAGE ANALYSIS OF THE VISIBLE REGION THROUGH SIMULATION OF ROCK ART PAINTINGS." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3560.

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Non-destructive rock art recording techniques are getting special attention in the last years, opening new research lines in order to improve the level of documentation and understanding of our rich legacy. This paper applies the principal component analysis (PCA) technique in images that include wavelengths between 400-700 nm (visible range). Our approach is focused on determining the difference provided by the image processing of the visible region through four spectral images versus an image that encompasses the entire visible spectrum. The images were taken by means of optical filters that take specific wavelengths and exclude parts of the spectrum. Simulation of rock art is prepared in laboratory. For this purpose, three different pigments were made simulating the material composition of rock art paintings. The advantages of studying the visible spectrum in separate images are analysed. In addition, PCA is applied to each of the images to reduce redundant data. Finally, PCA is applied to the image that contains the entire visible spectrum and is compared with previous results. Through the results of the four visible spectral images one can begin to draw conclusions about constituent painting materials without using decorrelation techniques.
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Wang, Lei, and Yuan Shao. "Research on the Composition Art of Tang Dynasty Tomb Mural Paintings in Shaanxi with Xi'an Area as the Center." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.127.

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Zhang, Yuanming. "Aesthetic Analysis on Line Art in Chinese Painting Art." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.133.

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Ishibashi, Ken. "Digital scratch art painting interface." In International Workshop on Advanced Image Technology, edited by Phooi Yee Lau, Kazuya Hayase, Qian Kemao, et al. SPIE, 2019. http://dx.doi.org/10.1117/12.2521491.

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Huang, Yiyuan, and Alain Lioret. "Cerebral interaction and painting." In SIGGRAPH Asia 2013 Art Gallery. ACM Press, 2013. http://dx.doi.org/10.1145/2542256.2542260.

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Chiyu, Pan. "Painting Creation Using Computer Graphics Art." In 2016 International Conference on Robots & Intelligent System (ICRIS). IEEE, 2016. http://dx.doi.org/10.1109/icris.2016.56.

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Crowley, Elliot J., Omkar M. Parkhi, and Andrew Zisserman. "Face Painting: querying art with photos." In British Machine Vision Conference 2015. British Machine Vision Association, 2015. http://dx.doi.org/10.5244/c.29.65.

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"[Cover art]." In 2008 7th International Conference on Composition-Based Software Systems. IEEE, 2008. http://dx.doi.org/10.1109/iccbss.2008.51.

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Neate, Timothy, Abi Roper, and Stephanie Wilson. "Painting a Picture of Accessible Digital Art." In ASSETS '20: The 22nd International ACM SIGACCESS Conference on Computers and Accessibility. ACM, 2020. http://dx.doi.org/10.1145/3373625.3418019.

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Reports on the topic "Art Painting Composition (Art)"

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Zhang, Ling, Brent Holland, and Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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Miller, Jennifer. The Politics of Nazi Art: The Portrayal of Women in Nazi Painting. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.7033.

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Taylor Tynes, Taylor Tynes. Fresco Painting at the University of South Carolina: Medium of the Past, Art of Today. Experiment, 2016. http://dx.doi.org/10.18258/6800.

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Frykman, Judith. A series of paintings, drawings, and compositions, oriented toward a fine arts direction in the use of synthetic and mixed media. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.224.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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