Academic literature on the topic 'Brush drawings'

The drawings, made with brush and ink on dictionary pages between 2011 and 2015, were created for use in the production of Alban Berg's opera Lulu. The physicality of ink—black ink, ink as blood, the harsh lines and clarity of images corresponding to the ruthless world—becomes an aesthetic equivalent of the instability of desire, a central construct in the opera. Lulu is both less and more than she wants to be, and more and less than her suitors imagine her to be. As such, she is often represented in a fractured formation in the drawings; constructed on multiple sheets; created to deconstruct and to fall apart. As femme fatale, she exists in many forms and there are myriad women representing her.

AbstractOne of the most notable works in the history of color printing is, Collection d'Imitations de dessins, d'après les principaux maîtres hollandais et flamands commencée par C. Ploos van Amstel, continuée et portée au nombre de cent morceaux, published in London in 1821. The work's importance lies in its 104 prints, which are facsimiles of drawings and watercolors by Flemish and Dutch artists of the seventeenth century. The prints so carefully reproduce the chalk and brush lines of the originals in a mechanically printed form, that they are frequently mistaken for drawings. The prints pose various questions as to who Ploos and Josi were; the role that they and their assistants played in the occupation of reproducing prints from drawings during this active period of printmaking experimentation, and the achievement that this publication represented in the nineteenth century, at a time when Holland was overcome by the adversities of war.

Let whoever may have attained to so much as to have the power of drawing know that he holds a great treasure ... Michelangelo The tradition of architectural drawings and making as a means of design thinking in a constant feedback loop results in discoveries that facilitate creative thinking in an iterative process. In the digital age, notion of drawing and making by hand as a cognitive process of thinking is fading. This trend is increasingly evident in upper-level architecture students who depend strictly on digital tools for design thinking, missing many critical decisionmaking steps. Concepts of scale, diagramming, composition, materiality are missing − part of the challenge is the computer screen and the lack of tactical autonomy with physical materials − pen, pencil, brush, architectural scale, materiality, construction, assemblage. How can we as educators assert that drawings are not just architectural representations, but a means to architectural inquiry? Why is it critical for our students to use hand drawings, sketching and diagramming when exploring ideas? Can small gestural models provide notions of scale, materiality, and construction? Teaching pedagogy has always engaged new modes of design thinking and communications as a way of design inquiry − a trait essential to architects. Historically, since the Renaissance, drawings have been the catalyst to advance architectural discourse. In the 20th century, different movements such as De Stijl, Constructivism and Bauhaus used a multi-disciplinary approach combining art and technology through the lens of drawing and making that led to a new wave of design pedagogy to push their imaginations into new territories which the digital augmented as technology advanced. We believe that today’s students need to continue to develop both hand and digital skills in tandem to optimize design thinking, making and presentation techniques. In doing so, they can advance architectural pedagogy to new heights as those before did; critically in a material and physical sense: as an embodied spatial experience.

Climatic changes and a series of snowy winters significantly affect the operation duration of winter sports centers, the basis of which is the stable snow cover presence. Modern technical capabilities make it possible to organize the recreation and sports facilities year-round work, where slopes equipped with materials and technological systems replacing natural resources are used as an alternative to natural snow cover. The artificial snow use history in different countries is presented. The aim of the study is to determine the feasibility of using synthetic coatings for organizing all-weather operation of sports facilities and winter specialization recreation. The reasons for the complexes demand in the real house vicinity, associated with the people of different ages desire to engage in their favorite type of activity, regardless of natural conditions, are determined. A modern social demand is the lever for using artificial snow substitutes on modern high-tech complexes. The possibility of using Snow Plast 365 modular brush coatings as a multifunctional material manufactured taking into account the various sports characteristics is considered. The demand for the Russian synthetic brush coating is shown, the area of ​​its use and the sales dynamics are indicated. To confirm the implemented projects’ visibility, the material contains drawings and diagrams.

Methods for teaching contemporary makeup design involve drawing on paper, which requires considerable time and is difficult to edit. To change the makeup color, one must redraw their entire makeup design again, which is both inefficient and not environmentally friendly. Furthermore, design drawings are difficult to preserve. However, computer graphic design has not been used in the teaching of makeup design drawing; instead, learners rely on knowledge from professors and the experience they accumulate through practicing drawing on paper. Computer graphic design software allows users to experiment with various color designs, lines, and shading options before finalizing their makeup design. Thus, this study sought to employ such technology to improve upon conventional hand drawing practice techniques. The experiment was divided into a preliminary experiment and main experiment, where a two-stage questionnaire was conducted. In the preliminary experiment, the researchers compared the time required to complete the hand-drawn and computer-drawn makeup designs. The results revealed that the hand-drawn designs required almost double time than computer-drawn designs to complete. Additionally, time-lapse photography was taken during the computer drawing process; the photos were used to explain—to participants in a digital drawing group in the main experiment—the digital drawing makeup design procedures and the required operation time. The first stage of the main experiment comprised a brush selection experiment. The participants, 39 students from a cosmetology department, completed a Likert-scale questionnaire. They also performed item analysis to discuss and select drawing tools from a graphic design software, which met the requirements for makeup design pertaining to the eyebrow, eyeshadow, eyeliner, blush, nose contour, and lips. The software allowed the students to experiment with different colors in their design and immediately displays the results. In the second stage, an experiment on optimizing brush arrangements was performed by 10 experts, all of whom were teachers from the department of cosmetology, had at least 5 years of teaching experience, and had obtained a Level B (advanced level) Beauty Technician Certificate. Data from a Likert-scale questionnaire were analyzed and narrative analysis was conducted to determine the rating and evaluation priorities for standards pertaining to the eyebrows, eyeshadow, eyeliners, blush, nose contour, and lips. The requirement for design symmetry was achieved by using the mirror function of the software. This function was useful: it enabled students to complete their makeup design in approximately half the time. This study transformed the conventional learning method through interdisciplinary integration, established novel and innovative teaching models, and provides crucial insights into future research on improving teaching practice.

Abstract This essay addresses the significance and status of Chinese art in sixteenth-century Iran through the lens of Safavid scholars, painters, and album compilers, as well as their patrons. It focuses on the album that Dust Muhammad compiled for Bahram Mirza, completed in 1544/45 and largely preserved in its original arrangement. A close examination of the relationship between the Chinese and Persianate paintings in this album—and comparisons with other paintings and drawings—demonstrates the ways in which Chinese artworks were perceived, adopted, and self-consciously adapted during Shah Tahmasp’s reign (r. 1524–76). Furthermore, my analysis of Dust Muhammad’s preface to the Barham Mirza Album and other important contemporary primary sources, such as the poem Āyīn-i Iskandarī (The Rules of Iskandar, 1543/44) by ʿAbdi Beg of Shiraz, reveals an early Safavid reluctance to embrace optical naturalism, which was strongly associated with the Chinese aesthetic. This analysis also elucidates the growing sense of a distinct pictorial style in Safavid Iran, which was thought to derive from an inner vision situated in the mind or heart of the painter. The mimetic abstraction of this Safavid-Shiʿi aesthetic, initially connected to Imam ʿAli, was considered superior to the optical naturalism of the Chinese aesthetic.

AbstractIt is a recognized fact that the majority of the many drawings produced in the 16th and 17th centuries have been lost. It is quite likely that a great deal of these lost drawings were the work of aspiring artists, done for practice during their training. Written sources, so-called 'Tekenboeken' and pictures of studios give us some idea of what such drawing exercises looked like. Series of eyes, noses, mouths, hands and feet, etc. served as preliminary exercices. Although these were recognized as very difficult assignments, their great advantage was that a single glance, even that of the young draughtsman himself, could establish whether the task had been done well, because 'mistakes are generally evident and can be seen and judged by everybody: for who is so dull and blind as not to notice whether someone has a deformed face, a twisted hand or a crooked foot?' (note 8). One duly wonders at the total absence of such drawings in Gerard Ter Borch senior's large collection of work by his sons Gerard junior, Harmen and Mozes. Apparently Ter Borch père was more selective than assumed by Alison Kettering in her introduction to the catalogue of the Ter Borch estate. Of the earliest drawings done by the young pupils in their first years, he seems to have concentrated on preserving drawings done from life and the young artists' own invention. As for drawings after prints, only copies of complete compositions were apparently worth saving. One could surmise that such practice drawings were executed on carriers which could be erased or re-used in some other way. The making of such carriers from box or palm wood and also from parchment is described in Cennino Cennini's 'Il Libro dell'Arte' (ca. 1400). The replaceable primer that was applied to such carriers consisted of ground white bone-ash mixed with saliva. According to Cennini, parchment 'tavolette' were also used by merchants to do their calculations on. The use of such parchment tablets is moreover confirmed by an early 16th-century recipe from Bavaria. The question arises as to whether erasable carriers were only used by beginners, as Cennini's text suggests, or by fully developed artists as well. This might provide a possible explanation for the total or virtually total absence of drawings in the oeuvres of some artists. Another question is how long this type of carrier remained in use. Research was sidetracked by the frequent occurrence of young artists drawing on blocklike boards or planks, notably on title-pages of 17th-century books of drawing models. In 16th-century iconography such boards appear to indicate the term 'usus' or 'practice'. They also refer to a Pliny text according to which drawing on boxwood boards was a fixed item in the education of well-born Greek children. The depiction of young draughtsmen with such drawing boards may therefore not represent actual studio practice but allude to the aspired high status of drawing and of the art of painting in general. The very nature of erasable carriers means that traces of them are rare. Those boards that have survived (Meder had published a number) are not acknowledged as such apart from the wax tablets intended for re-use in Classical Antiquity, and in the Middle Ages too. There are sporadic references in written sources. Karel van Mander, for instance, uses the term 'Tafelet' twice, the first time in connection with Albrecht Dürer who - significantly in this context is said to have portrayed Joachim Patinier on a slate (the ideal erasable carrier) 'or a tafelet'. Van Mander subsequently mentions a 'tafelet' in his biography of Goltzius, who was asked to do a portrait on a 'tafelet' in preparation for a print. The very strong likelihood that the term 'tafelet' was used to indicate a carrier suitable for re-use is endorsed by a recipe by Theodore de Mayerne (ca. 1630), who suggests two ways of making a 'tablet à papier' for writing on with a metal stylus: strong and well glued paper is spread with a paste of ground bone-ash, not mixed with saliva this time but with a weak gum solution. To prepare the tablet for re-use it could be cleaned with a wet brush. When the paper had suffered too much from this repeated treatment, it could be varnished, according to de Mayerne, after which it could be written on again with a pen, washed off again etc. Although de Mayerne recommends this 'tablet à papier' for practising writing, no distinction was made between carriers for writing and drawing (cf. Cennini above). We shall probably never know to what extent erasable carriers were used, but the foregoing remarks may shed a fresh light on a group of works of art, drawings with silver or other metal styluses on prepared parchment or paper. Instead of resorting to one of the highly specialized and expensive drawing methods which are often cited, for example in connection with Rembrandt's portrait of Saskia in Berlin with silver stylus on prepared parchment, such drawings may have been done on tablets which were not intended to be preserved. Goltzius' portraits with metal stylus as a rule were executed as drawings which served solely as the basis for a print. From a text in P. C. Hooft's Warenar (1616) we learn, that a 'tafelet' or 'taflet' was a booklet used as a scrap book and habitually carried in the pocket. A few of such booklets have survived. One is a booklet with fourteen prepared paper pages which belonged to Adriaen van der Wcrff. In it, writing with a silver stylus, he kept a record of the number of days he spent on his paintings. The first four pages of the book were prepared for re-use. The traces of earlier inscriptions can still be vaguely discerned under the new layer of primer. A second tafelet - originally containing twelve pages - was identified in the collection of the Rijksprentenkabinet (note 41). It was used around 1590 by a young painter who practised in it by copying fragments of prints.

In continuing with the previous chapter which discussed armature reaction, this current chapter discusses armature windings. The authors address the issue of lap windings, method of drawing, and making the direction of current. Moreover, they discuss how to find out the location of brush placement. Then then discuss multiplex lap winding, wave winding, their method of drawing and number of parallel paths. After that, frog-leg or composite winding is discussed. Finally, they discuss scope of lap winding.

Chinese writing language originated from hieroglyphics. Chinese characters, changing with the development of writing instruments, became pure written symbols. The emergence of calligraphy, one of the highest quality art forms in China, caused the evolution of Chinese characters. Each style in calligraphy reflects the calligraphists' personality, emotion, and the intrinsic motivation behind a message in the script. The author created the characters based on her own style by studying the characteristics of calligraphy and personifying calligraphy as human. The charm of calligraphy was shown by expressing changes in ink thickness and opacity. The author intended to help people who cannot read Chinese to understand emotions expressed within the characters, and combine illustration, calligraphy, and painting characterized by fast-moving ink marks drawn with a writing brush, then imported into computer software for detailed drawing. The purpose of this document is to use case studies to seek optimal art form in illustration.

Chapter 2 deals with the period mainly from the third to the tenth centuries when the continuing paucity of surviving illustrations of technical subjects obliges us to examine general developments in painting in order to tease out what they might be able to add to our knowledge of technical depictions at this time. We shall see that, during these centuries, Chinese painting remained generally committed to realistic narrative representations, with many artists devoted to creating greater verisimilitude in their paintings. But just as the prevailing aesthetic values were encouraging greater realism in painting and drawing, the almost exclusive use of the Chinese brush for visual representations may have impeded the development of certain representational techniques. Moreover, while the invention of woodblock printing toward the end of this period made possible a much wider reproduction and circulation of illustrations, it was a technology that also contained in itself the potential to inhibit advances in illustration techniques.

Interacting with computers by using the bodily motion is one of the challenging topics in the Virtual Reality field, especially as regards the interaction with large scale virtual environments. This paper presents a device for interacting with a Virtual Reality environment that is based on the detection of the muscular activity and movements of the user by the fusion of two different signals. The idea is that through muscular activities a user is capable of moving a cursor in the virtual space, and making some actions through gestures. The device is based on an accelerometer and on electromyography, a technique that derives from the medical field and that is able to recognize the electrical activity produced by skeletal muscles during their contraction. The device consists of cheap and easy to replicate components: seven electrodes pads and a small and wearable board for the acquisition of the sEMG signals from the user’s forearm, a 3 DOF accelerometer that is positioned on the user’s wrist (used for moving the cursor in the space) and a glove worn on the forearm in which these components are inserted. The device can be easily used without tedious settings and training. In order to test the functionality, performances and usability issues of the device we have implemented an application that has been tested by a group of users. Specifically, the device has been used as natural interaction technique in an application for drawing in a large scale virtual environment. The muscular activity is acquired by the device and used by the application for controlling the dimension and color of the brush.